Nominations 2022
LIST OF NOMINATIONS OMPA 2022
- Museo de Arte Contemporaneo de Panama – MAC Panama.
- Club Zien, a collaboration of five museums in Brabant, Netherlands.
- "Virtual Present - Dreaming for the Future, Museum before Museum" Ars Aevi, Sarajevo, Bosnia&Herzegovina.
- The TESIS project is an initiative of the Museum of Contemporary Art, a cultural entity of UNIMINUTO, Colombia.
- 1st and 2nd Beijing Photo Biennial curated by CAFA Art Museum, China.
- Laboratory of Art and Thought (LAP), held by Els Baluard Museu, Spain.
- Museo Provincial de Bellas Artes ‘Rosa Galisteo de Rodríguez’, Santa Fe, Argentina.
- MAIIAM Contemporary Art Museum, Chiang Mai, Thailand.
- Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Indonesia.
- Zeitz MOCAA, Cape Town, South Africa.
- Museum of Modern Art (MAM), Rio de Janeiro, Brazil.
- Bildmuseet, Umeå University, Umeå, Sweden.
- Bundanon, Wodi Wodi country, near the Shoalhaven River, on the South Coast of NSW, Australia.
- Irish Museum of Modern Art, Dublin, Ireland.
- Museum Sztuki, Lodz. Dual project: The Fire and the Ashes, Nikita Kadan and Citizens of the Cosmos, Anton Vidokle with Veronika Hapchenko, Fedir Tetyanych and the Collection of the International Cosmist Institute.
- Kokama museums, Manaos, Amazonia, Brazil.
1. Museo de Arte Contemporaneo de Panama – MAC Panama
1) First and Last Name of individual submitting the nomination:
Maria Lucia Aleman
1.1) Position of individual submitting the nomination:
Executive Director
1.2) Institution submitting the nomination:
Museo de Arte Contemporaneo de Panama
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
I believe our innovative and collaborative approach to listening and co creating our public program with the communities we serves is causing an unprecedented sense of belonging and ownership of the museum and its program and bringing people that have never felt part of art or museums.
3) Brief description of the practice or project. (max. 500 words)
In the past two years we have been focusing on how the museum can better serve its community by opening up and creating opportunities for exchange, wellbeing, knowledge sharing, inclusion, empathy and tolerance through contemporary art expressions. We started by creating listening sessions where we invited leaders of diverse causes, community representative of traditionally excluded groups, professionals, academics to learn about their current challenges and asking them how through its programs, MAC Panama can be a space to create opportunities of reflection, dialogue or visibility. We invited them to participate and craftfully started weaving our exhibition, public and educational program putting in the center these issues in alignment with the museum´s vision.
In 2021 we decided to open up our collection and launch an open call for proposals by presenting new narratives that would arise and share stories and visions from within the communities voices and fields of knowledge.
Abordajes received 12 proposals from investigators, curators and artists and professionals in several countries in Latin America and Spain. So far, we have exhibited two: Mi Nombre es Legion, a tour of the Panama City, that used 80 artworks and invited 8 artists to show the problematics within our history, growth and present urban issues. Then came Guardar Semillas en el Cabello, where afro Panamanian and indigenous communities’ voices were directly represented by their own artists for share their cultural heritage and current realities through artworks from the Collection. We are proud to say that we managed to secure the funds for both publications, and we have itinerated the exhibition in our mobile museum Contenedor MAC to a high transited public space.
Regarding public programming, we have been working very closely with collectives, community groups and associations to co create our public programming based on the topics addressed in each exhibition. I like to think of it as handing over the museum to these groups so they can design experiences and activities that are relevant to them and include their own representatives. For example, for our black heritage month we brought ancestral groups from other provinces and held numerous activities, workshops, conferences. Similarly, during PRIDE month we worked closely with their community and nonprofits to co create the programs and hand over the museum space as a safe harbor to share and exchange.
Our impact in creating new opportunities for complementary ways of learning about a multidisciplinary scope of subjects has been very effective with our youth and children’s programs for underserved communities.
We offer a methodology where the visits to the museum aims is to spark critical thinking in an educational system that is very deficient and does not promote the development of individual viewpoints, particularly on contemporary issues occurring within the context. They also receive an artistic expression workshop where they can reflect upon and express their personal views. We are directly contributing to opening the minds of our visitors and connecting them with themselves and others, which we believe creates empathy and tolerance and enhances communities’ well-being and the construction of healthier societies.
5) Provide links to the institution website as relevant support material:
2. Club Zien, a collaboration of five museums in Brabant, Netherlands.
1) First and Last Name of individual submitting the nomination:
Imke Donkers en Anke Koenraadt
1.1) Position of individual submitting the nomination:
Adviseur cultuureducatie
1.2) Institution submitting the nomination:
Erfgoed Brabant en Kunstloc Brabant
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
Club Zien, a collaboration of five museums in Brabant, thinks from the outside in and intensively involves the target group, preparatory secondary vocational education (vmbo) students and teachers, in the development of educational options that can replace the curriculum and are appropriate for the target group.
3) Brief description of the practice or project. (max. 500 words)
In recent months, over 340 preparatory secondary vocational education (vmbo) students have visited Het Noordbrabants Museum and Design Museum Den Bosch. These visits are part of a large-scale VMBO project established by five museums in Brabant. In the coming years, Het Noordbrabants Museum, Design Museum Den Bosch, Stedelijk Museum Breda, Van Abbemuseum Eindhoven and Museum Helmond, will focus on involving vmbo students in the museum. The project is subsidized and made possible by the Ministry of Education, Culture and Science and the Province of North Brabant. In addition, the five museums in Brabant are using their own financial resources.
Indeed, vmbo students currently feel that almost none of the museum's offerings appeal to them. This is despite the fact that the museum is positioned to contribute to the encouragement of creativity and cultural development.
There is therefore all the more reason for the five museums in Brabant to let vmbo students experience that the museum is also there for them and to develop educational options together with said students.
A unique feature of the vmbo project is that educational options for vmbo students are developed together with students and teachers. The aim of the educational options is making the museum visit as appropriate as possible to the students' experiences and preferences. As an example, the fact that students want to be challenged in the museum became clear thanks to the organized sessions with students. It also became clear that the museum visit should match their interests and that they want the freedom to choose what they want to see in the museum.
These insights and ideas gathered from the students were then translated into a museum visit focused on vmbo students. During these visits, the students came to experience and test the developed educational options. Based on feedback from the students and teachers, the available educational options will be adjusted and at a later stage the students will once more come to test adjusted and refined educational options.
This development loop, based on the design thinking methodology, and co-creation have prominent and important roles in the project. Invariably, we involve students, invite students to come and test the educational options, and ask them for feedback. We then once more refine the developed educational options on offer, have it tested by students, etc. We do this for the educational options on offer to be developed for Het Noordbrabants Museum, Design Museum Den Bosch, Stedelijk Museum Breda, Museum Helmond, and for Van Abbemuseum Eindhoven. At a later stage, this will be applied to the entirety of Brabant.
It is very special and unique for five museums work together in such a way and that the target group, vmbo students and teachers, is so closely and intensively involved in the development of educational options on offer. In our view, this is definitely a project that can serve as an example and inspiration for the entire community of museums of modern and contemporary art.
5) Provide links to the institution website as relevant support material:
https://www.hetnoordbrabantsmuseum.nl
https://designmuseum.nl
https://www.stedelijkmuseumbreda.nl
https://vanabbemuseum.nl
https://museumhelmond.nl
3. "Virtual Present - Dreaming for the Future, Museum before Museum" Ars Aevi, Sarajevo, Bosnia&Herzegovina.
1) First and Last Name of individual submitting the nomination:
Senka Ibrisimbegovic
1.1) Position of individual submitting the nomination:
Director
1.2) Institution submitting the nomination:
Public institiution City Museum Sarajevo; Ars Aevi Museum of Contemporary art Sarajevo
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
"Virtual Present- Dreaming for the Future, Museum before Museum" is project that make possible to all wider audience locally and internationally to visit collection Ars Aevi, to learn and to sever as example for all other Museums to follow same example, but also to see the virtual museum while waiting the real one to be build, so to be promoted worldwide and for institution to have all digital database.
3) Brief description of the practice or project. (max. 500 words)
"Virtual Present- Dreaming for the Future, Museum before Museum"
Ars Aevi is a very ambitious artistic and cultural project. Ars Aevi has potentially massive importance for the development of South-Eastern Europe and the broader Mediterranean region. Examined in its own global geographical and political context, Ars Aevi is a stimulating example of international good will. It reflects the power of culture, architecture and art in unification. As Ars Aevi project has difficulties to have built museum building, where the collection should be exhibited, and due to Covid-19 restrictions and digitalization promotion we did an amazing project. "Virtual present- Dreaming for the Future; Museum before Museum".
In this project we sought to digitalize the planned Future Museums layout and planned collection exhibits within it. This means to create a platform which could convey Museum and its collection to our key demographics. Hence we chose to produce a website with an interactive tour as a medium that can be used between all ages. Within this we attempted to provide a unique experience, to be able to see the future building, to walk around it, to see the connections it has with its surroundings, and yet feel the space within.
A digital tour of the future museum will also be presented to all interested educational institutions to access planned collection exhibits and provide students with a safe virtual outing.
Our Museum before Museum project also gives a visualization of the building before any construction started yet. It also serves to representational purpose for our partners abroad and in the local government, to explain and imagine the physical potential of the project.
The objective of the Future Ars Aevi Museum is to create an international Multicultural Centre and Museum of contemporary world art in Sarajevo, a city where for the centuries differences between East and West have met in an atmosphere of mutual respect and love. In the cultural environment of Sarajevo and with its international heritage, the Ars Aevi Centre and Museum will be a permanent and visible symbol of the hope that instead of divisive differences can stimulate us to find beauty and value in diversity. After a while of break within the scope of modern technology, with this project accomplished, Ars Aevi is now back on track to lead the progress of art in this region.
5) Provide links to the institution website as relevant support material:
4. The TESIS project is an initiative of the Museum of Contemporary Art, a cultural entity of UNIMINUTO, Colombia.
1) First and Last Name of individual submitting the nomination:
Gustavo A. Ortiz Serrano
1.1) Position of individual submitting the nomination:
Director
1.2) Institution submitting the nomination:
Museo de Arte Contemporáneo de Bogotá
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
Beauty and wealth have a compulsory social function
3) Brief description of the practice or project. (max. 500 words)
The TESIS project is an initiative of the Museum of Contemporary Art, a cultural entity of UNIMINUTO, conceived, formulated and managed for 19 years, in order to invite Colombian Universities and academies that offer fine and visual arts careers to show their best research projects. More than 800 new artists from all regions of Colombia have actively participated in this event. As a complement to this project, a Thesis Bank was created, which currently has around 1,200 theses; They are the most important archive of visual arts in Colombia in the 21st century.
The THESIS project focuses on the best research-creation works that are produced each year in Colombian universities. Each university submits the six best graduate theses of the last academic year; this guarantees excellence , they passed through university juries and have been honored or exalted for their aesthetic, research and academic achievements.
The works come from the different regions of Colombia, even from the most remote areas that do not have a museum; It is precisely these valuable works of research-creation that do not have a circuit for their dissemination, which have most valued the invitation that the museum makes each year.
The innovation of this project consists in focusing on an important research process carried out by students to obtain their academic degree and which is normally limited to the scope of the faculty or the group of professors that make up the jury.
Another innovative element is the invitation to all the universities in Colombia that offer Fine or Visual Arts programs. It is unusual because museums do not usually invite universities to apply for their recent graduates.
The continuity of the project during the last 19 years has given it a high degree of credibility while at the same time it has strengthened the links between the museum and art faculties in Colombia, showing that the links between the academic and pedagogical processes with the museum can be expanded and strengthened.
Since 2020, the TESIS project is also on Google's Arts & Culture platform.
Due to its flexible and open characteristics, the TESIS project is an initiative that can be easily replicated by any museum, it can start on a small scale with the graduates of each university and gradually expand its range of action to a city, region or country.
In fact, throughout these 19 years we have advised or shared this experience with university museums in Guadalajara, Quito and Buenos Aires, who have seen an important opportunity to boost the work of both their art faculties and the university museums under their responsibility.
The TESIS project marks the professional career of visual artists in Colombia, many of them have been beneficiaries of grants for creation, international exchange, acquisition of their works for our permanent collection, dissemination of their work through catalogs, live broadcasts, digital platforms, press, television and radio.
The contemporary art museum's collection has been enriched by these acquisitions, by the dynamics of young art and by the bank of graduate theses.
5) Provide links to the institution website as relevant support material:
https://artsandculture.google.com/story/fAUB-0ifd_BB3A
https://artsandculture.google.com/story/iwVRUTr_EOV_JA
5. 1st and 2nd Beijing Photo Biennial curated by CAFA Art Museum, China.
1) First and Last Name of individual submitting the nomination:
Dianna SU
1.1) Position of individual submitting the nomination:
Lecturer
1.2) Institution submitting the nomination:
Beijing Normal University
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
The 1st and 2nd Beijing Photo Biennial curated by CAFA Art Museum with its international curators' team is outstanding for improve the public's understanding and participating in contemporary photography in different kinds of art museums in China with international collaborations.
3) Brief description of the practice or project. (max. 500 words)
As one of the top international photo exhibitions in China, the “Beijing Photo Biennial” has been successfully held twice. “Problem consciousness” is always the style of the curatorial team of CAFAM led by Wang Huangsheng, from “Aura & Post Aura: The First Beijing Photo Biennial” which focused on photographic art in the digital age, to the 2nd biennial in a response to a larger category of “Asian question” in the form of art, the exhibition has always focused on how photography is a medium that is intervening, applying and continuously updating, constantly involved in the narrative of contemporary culture and the construction of a new artistic order and pattern.
The Second Beijing Photo Biennial (2015) will help people to understand the “rich but ambiguous Asian picture,” and Asia that has a long history and rich civilization, is currently experiencing a more complex and tortuous change, while it is forming a new geographical culture and the ethnic integration. The exhibition brings together 7 curators from Beijing, Hong Kong, Japan, Israel, through the photographic works selected and recommended by them, the viewers can know the fresher, richer and different side of Asia in terms of culture and spirit, from multiple dimensions and levels.
Starting from the perspective of contemporary art and photography, either the “other imagination” in the West, or the “fuzzy self-identification” in the East, it actually continuously reveals the fact that we are very unfamiliar with Asia where we live in. The exhibition hopes through photographic characterization to see Asia, exploring the concept of “what is Asia”, and then to think about Asia, rediscovering Asia.
5) Provide links to the institution website as relevant support material:
https://www.cafamuseum.org/exhibit/detail/272
https://www.cafamuseum.org/exhibit/detail/445
https://www.cafa.com.cn/en/news/details/8323831
https://www.cafa.com.cn/en/news/details/8322383
6) Laboratory of Art and Thought (LAP), held by Els Baluard Museu, Spain.
1) First and Last Name of individual submitting the nomination:
Mabel Tapia
1.1) Position of individual submitting the nomination:
Deputy Director
1.2) Institution submitting the nomination:
Reina Sofia Museum
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
Laboratory of Art and Thought (LAP), held by Els Baluard, operates in a multilayer dimansion that contributes to reconfigurate and transform the museum institution itself at the time that it opens new spaces and communities exchanges.
3) Brief description of the practice or project. (max. 500 words)
The Laboratory of Art and Thought (LAP) is an education and research programme that aims to become a platform for ideas and a space for critical thinking in which to explore the potential of artistic practice and cultural production as mechanisms of intervention in social change.
It seeks to bring together people who are interested in the interrelations between art and culture and other political and social spheres, people from the fields of the humanities, artistic practice, public policy, cultural production or management, activists and people linked to social movements or who are committed to social change and want to get involved in reflection, research and action projects in a collective work context.
The LAP understands artistic practice as a territory of confluence between diverse knowledge, accounts, disciplines and political or social interventions. In accordance with the so-called “pedagogical turn” that contemporary art and contemporary art museums around the world have experienced in recent decades, the LAP is born of a conception of the institution as a space for critical, educational and social experimentation, and aims to establish itself as a laboratory of artistic and cultural ideas at the current epicentre of contemporary crises, innovations and flows.
With a vocation for permanent activity, although also as a space undergoing constant revision and exploration, intensely related to the contemporary cultural, social and political context as well as to an institution’s need to constantly rethink itself, the LAP will be developed according to different lines of reflection and research.
An art and thought mechanism that was ultimately established with the aim of developing a project that connects the institution/ museum with the debating, production and dissemination of contemporary thought. It is an experimental and interdisciplinary education project that understands education and the exchange of knowledge as essential elements for social transformation.
The LAP will be developed over various annual editions. The first edition, took place between January and June 2022 under the title Contact Zone: Repairing Crises. The second edition, currently in preparation will be developed between February and May 2023.
The LAP raises the need to think about this contemporary complexity, developing its activity through five intertwined thematic axes that constitute the nervous system of Es Baluard Museu entire educational activity: New Institutionalisms, Environmentalisms, Feminisms, Borders and Work. Five axes that, from different perspectives, will approach some of our society’s greatest challenges: social inequality, respect for human rights, climate change, global precariousness and poverty, displacement and borders, and the need to rethink institutional structures in order to respond to these challenges.
The first edition was attended by more than 400 people. A total of 37 speakers and tutors, 125 people enrolled in the different modules and some 240 people participating in the different public activities of the program; all of them formed an active, participatory, dynamic, critical and plural community. Experts in the different modules shared their experience and knowledge with artists, educators, activists, teaching professionals and people interested in the different topics. Among them we can highlight Hito Steyerl, Yayo Herrero, Judith Butler, Suely Rolnik, Sandro Mezzadra, Remedios Zafra or Guy Standing. A sharing experience that was not vertical and unilateral, but flowed in all directions and became exchange, debate, work and collective reflection. The LAP opens its doors to people and communities so that they can inhabit the museum, through dialogue, questioning and, especially, through collective construction.
5) Provide links to the institution website as relevant support material:
Website: https://www.esbaluard.org/educacion-y-formacion/laboratori-dart-i-pensament/en
Program 1st edition:
https://museoreinasofia- my.sharepoint.com/personal/mabel_tapia_museoreinasofia_es/_layouts/15/onedrive.aspx?id=%2Fper sonal%2Fmabel%5Ftapia%5Fmuseoreinasofia%5Fes%2FDocuments%2FLAP%201%20Es%20Bal uard%20Museu%20ENG%2Epdf&parent=%2Fpersonal%2Fmabel%5Ftapia%5Fmuseoreinasofia% 5Fes%2FDocuments
7. Museo Provincial de Bellas Artes ‘Rosa Galisteo de Rodríguez’, Santa Fe, Argentina.
1) First and Last Name of individual submitting the nomination:
Alejandra Aguado/ Francisco Lemus/ Clarisa Appendino
1.1) Position of individual submitting the nomination:
Head of Collection/ Associated Curator/ Curatorial team coordinator
1.2) Institution submitting the nomination:
Museo de Arte Moderno de Buenos Aires
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
We nominate the Museo Provincial de Bellas Artes ‘Rosa Galisteo de Rodríguez’. Guided by a desire for institutional transparency and the democratization of their modern and contemporary art collection, they have redefined access to their patrimony, renewed the link to the art community, and encouraged artists, researchers and employees alike to question the value of the collection and of their own work at the Museum, while taking on board a period of necessary architectural refurbishment and collection care.
3) Brief description of the practice or project. (max. 500 words)
Located in the city of Santa Fe, over 400 km from Buenos Aires, the public Museo Provincial de Bellas Artes “Rosa Galisteo de Rodríguez” was founded in 1918 on a growing modern art collection and the will to showcase the work of artists not only from Santa Fe Province but elsewhere in Argentina. Although its collection was admired by artists and scholars throughout its existence and the institution had maintained its annual ‘Salón de Mayo’ art prize to showcase the art scene, and to expand its modern and contemporary art collection with new works, its role in the art scene and the community had become rather stale. Almost a century later, under the creative momentum of its new director, Analía Solomonoff, the “Rosa”, as it is now dubbed, spearheaded an art programme that has put the Museum back on Argentina’s art map. Now a new, necessary and desirable exhibition space, it is once again sparking fresh dialogues between artists and professionals nationwide.
We wish to draw attention to the Rosa’s project, ‘Museo Tomado’ [‘Museum Taken Over’], begun in 2018 as a project to restore and remodel the Museum’s reserves. In ‘Museo Tomado’, the Rosa’s collection and work teams set about occupying the exhibition spaces. The collection began ‘taking over’ the galleries and gradually expanded to co-exist with other exhibitions, the ‘Salón de Mayo’ [May Salon] and activities inviting the public to promote, investigate, activate the archives and library, and spread news of the Museum’s day-to-day work by strengthening democratic access to its collection, considered one of the most important in Argentina.
Far from a mere critical and intellectual rethink of what makes the Museum and its collection relevant, the many variables of museum work were presented to the public through the actual movement, conservation and installation of artworks during visiting hours. They exposed working methods, normally invisible storage conditions and over 800 works usually undisplayed, rewriting the distinction between storing and displaying in the process. Some works even spread out into the neighbourhood as part of a community art exchange project and a reflection on value and ownership.
Seeking to inspire visitors and artists alike, the Rosa’s programme has exemplified local museums’ central role in furthering strategies to re-imagine how art collections from whatever period can remain relevant for audiences and artists; how art institutions can provide for an otherwise non- existent space of social exchange across social classes, generations and museum-goers; and how the museum can provide access to experiences once thought out of reach. The Rosa’s work has all also underlined the importance of the curator's role in re-imagining the museum as a political sphere and a space for civic engagement.
The challenge has involved turning invisibility into transparency, need into openness, distance imposed by packed spaces into closeness to the works, and has encouraged the local community to acknowledge the Museum’s history as part of a social and cultural dynamic that transcends the limits of the city.
5) Provide links to the institution website as relevant support material:
https://www.museorosagalisteo.gob.ar/
8. MAIIAM Contemporary Art Museum, Chiang Mai, Thailand.
1) First and Last Name of individual submitting the nomination:
Eugene Tan
1.1) Position of individual submitting the nomination:
Director
1.2) Institution submitting the nomination:
National Gallery Singapore
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
The MAIIAM is an exceptional museum of contemporary art in Chiang Mai, Thailand, that has served its local community and that of underrepresented artists across Thailand through stellar exhibitions and programming.
3) Brief description of the practice or project. (max. 500 words)
The MAIIAM Contemporary Art Museum has been serving its community and the global art ecology through the presentation of impactful exhibitions of underrepresented Thai artists, as well as international names in its location in Chiang Mai, Thailand. Sprung from the private collection of the Bunnag-Beurdeley Family, MAIIAM has grown to become one of the leading institutions of Thai contemporary art in the world.
MAIIAM should be particularly noted for being a platform for Thai artists outside the mainstream. Its 2018 exhibition PATANI SEMASA: An exhibition on contemporary art from the Golden Peninsula, created in collaboration with ILHAM Gallery, Malaysia, foregrounded the work of 28 artists from the Patani region, an area of Thailand informed by Malay ethnicity and Islam and once connected to parts of what is now Malaysia. Historically fraught with tension against the Thai state, secessionist movements from the region have led to violence. PATANI SEMASA presented another perspective: one that offered a humanistic, intimate portrayal of Patani and communities living with the effects of looming tensions and outbreaks of violence. While underscoring the diversity of the region and representing the richness of Southeast Asian art, the show also brought to question the geo-political boundaries that have come to define the space, as well as gently articulating the trauma of conflict.
MAIIAM has been resolutely spotlighting the struggles of Thai society, often issues emblematic of far wider global crises. More recently, For Those Who Died Trying (And Those Who Endure) at MAIIAM presented photographs of individuals who fought for societal change in Thailand but to tragic end. Working with the Human Rights organisation Protection International, the show, by photographer Luke Duggleby, draws as much attention to issues of corruption, environmentalism and land rights in Thailand as it preserves the memory of the people who resisted systematic oppression.
For actively amplifying the voices and perspectives of marginalised groups with curatorial excellence, MAIIAM is an exceptional museum of outstanding practice.
5) Provide links to the institution website as relevant support material:
http://www.maiiam.com/exhibition/patani-semasa/
http://www.maiiam.com/exhibition/for-those-who-died-trying-and-those-who-endure/
9. Museum of Modern and Contemporary Art in Nusantara (Museum MACAN), Jakarta, Indonesia
1) First and Last Name of individual submitting the nomination:
Eugene Tan
1.1) Position of individual submitting the nomination:
Director
1.2) Institution submitting the nomination:
National Gallery Singapore
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
Museum MACAN has established itself as one of the leading museums of modern and contemporary Indonesian art, and since its brief existence since 2017, has already made significant impact on the recognition and development of Southeast Asian art history.
3) Brief description of the practice or project. (max. 500 words)
The Museum of Modern and Contemporary Art in Nusantara (Museum MACAN) has consistently presented exhibitions that have advanced the appreciation and awareness of Indonesian art and artists globally, and continued steadfast in its mission to develop art history and arts education in Indonesia. Through its brief 5-year existence, Museum MACAN has focused on the research and presentation of Indonesian artists, many of whom have been marginalised by art historical convention. They have been equally dedicated to sharing this knowledge with their publics through stellar programmes for a wide range of audiences and age groups, and growing the Indonesian art ecology through grooming professionals in the museum sphere.
Museum MACAN has been an important platform for Indonesian and international artists alike to show their work to a global audience, including Arahamaiani, Melati Suryodarmo, Lee Mingwei and On Kawara. Its latest exhibition, Agus Suwage: The Theatre of Me, highlights an Indonesian artist of significant import and outsized impact on modern art in the Southeast Asian region. The exhibition highlights the artist’s three decade-long career, through which we come to understand the dimensions of Indonesia's socio-political environs through the 1990s, a turbulent period of the country’s history. Museum MACAN confronts often difficult yet fundamental issues both local and universal, dealt with with profound sensitivity, exemplified in this exhibition.
Its innovative and insightful programming has been as expansive as its exhibitions, and have made art history, art making and local and global art ecologies accessible to its publics. As platforms for
cross-disciplinary exchanges in areas of design, craft and visual art practice, Museum MACAN's programmes shift the boundaries of the definition of modern and contemporary art; a perspective that is distinct to the traditions of Southeast Asian art and yet, simultaneously, innovative.
Museum MACAN is an institution that has already risen to international standing and deserves recognition for its excellence in museum practice, continued efforts to grow the visibility to the art of Southeast Asia and its exciting future.
5) Provide links to the institution website as relevant support material:
https://www.museummacan.org/ https://www.museummacan.org/exhibition/agus-suwage-the-theater-of-me
10. Zeitz MOCAA, Cape Town, South Africa
1) First and Last Name of individual submitting the nomination:
Renaud Proch
1.1) Position of individual submitting the nomination:
Executive and Artistic Director
1.2) Institution submitting the nomination:
Independent Curators International (ICI)
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
Under the leadership of Koyo Kouoh, Executive Director & Chief Curator, Zeitz MOCAA is growing and evolving into an institution that uniquely can meet the needs of contemporary African artists and contemporary African societies, building a global precedent for all museums seeking to remain relevant in the 21st century.
3) Brief description of the practice or project. (max. 500 words)
Over the past two decades, the framing of discourse on contemporary African artists internationally has been generalized through the vehicle of the group exhibition – whilst important ground has been covered, its broad strokes has obliterated the possibility of more complex, contradictory, diverse, nuanced, and rooted narratives to be told. As a conscious re- calibration, Zeitz MOCAA has embarked on monographic exhibition, publishing, and program foci, to re-center attention on individual artists’ genealogy and practices. Through survey and retrospective exhibitions, the MOCAA team aim to contribute to the writing of new chapters of the art history of MOCAA’s continent, focusing on artists who previously have been ignored or neglected. This work positions artists central to the articulation and narration of an African art history.
An ambitious publishing program was begun, where selected exhibitions are accompanied by a significant scaled book. In addition, each exhibition is accompanied by a smaller format, free publication, developed in tandem with rich audio-guides and exhibition didactic texts. This further establishes MOCAA’s commitment to centering the artist in all MOCAA’s work and mediating their contributions and making it accessible to museum visitors and interlocuters.
Alongside MOCAA’s solo exhibitions the MOCAA team have also introduced The Atelier an experimental platform and five months artist residency program at Zeitz MOCAA for Cape Town based artists. Consisting of a multi-gallery area on the museum’s second floor, it provides an opportunity for residents to use the museum as a studio -to create new work, conduct research and develop ideas for future projects. Making modes of production and processes public that are usually not accessible to museum visitors, The Atelier provides museum them unique access and insight. Vice versa, artists are given an opportunity to reflect on their work in a public environment and interact with diverse visitors and communities through public programs.
Furthermore, the Centre for Education (CFAE) is a dedicated team of education specialists that develop, design, host and implement meaningful programmes that engage with the collection and exhibitions. MOCAA’s aim is to make art accessible to a diverse audience of all ages through discussion, debate and active making. This speaks directly into one of the founding elements of the mission and vision, namely to operate school and education programmes that enrich, inspire, and bring art and culture to children and adults, to provide access to 21st-century African art practice.
Finally, the development of a Pan-African Museum Fellowship programme provides a year- long opportunity for participants from across the continent to work directly with staff spanning curatorial, art education and institutional advancement alongside theoretical content tailored to a Pan-African audience. The Museum Fellowship aims to address the serious deficit of skilled museum professionals on the continent. The museum has established a partnership and collaboration with the Centre for Humanities, University of the Western Cape, which will ensure an academically rigorous process for fellows, and guarantee accreditation, through a post-grad diploma.
5) Provide links to the institution website as relevant support material:
https://zeitzmocaa.museum/
11. Museum of Modern Art (MAM), Rio de Janeiro, Brazil.
1) First and Last Name of individual submitting the nomination:
Renaud Proch
1.1) Position of individual submitting the nomination:
Executive and Artistic Director
1.2) Institution submitting the nomination:
Independent Curators International (ICI)
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
Under the direction of Keyna Eleison and Pablo Lafuente, the Museum of Modern Art (MAM), Rio de Janeiro, has been fully rethought as a space of intersections: art history, critical discourse, location, architecture, hiring policies, exhibitions and programming, community engagement and education all reflect a commitment to mending gaps and marginalization caused by history.
3) Brief description of the practice or project. (max. 500 words) CIMAM Outstanding Museum Practice Award, 2022
Nominee: Museum of Modern Art, Rio de Janeiro, Brazil; Artistic Direction: Keyna Eleison and Pablo Lafuente
Under the direction of Keyna Eleison and Pablo Lafuente, the Museum of Modern Art (MAM), Rio de Janeiro, has been rethought as a museum of intersections. The museum came to be understood not only as a conceptual space at the intersection of the city, the country and the world, but as a bridge between the cultures represented in the museum and those left out of it, through the lens of issues of gender, race, sexual orientation, accessibility and diversity.
The vision for the museum further evolved in times of a global public health and social crises related to COVID-19, and many months of confinement, to locate itself at the many intersections of the museum building, its surroundings (the park, the city), as well as individual homes.
With a organizational strategy articulated around notions of childhood, territory, accessibility and inclusion, and the direct involvement of artists through residency programs, MAM has reorganized its approach to its art, cinematographic and cultural heritage collections. Hiring practices, architectural adjustments, exhibition programming and collection building, public and educational programs, artists residencies and research, have reflected these priorities. MAM’s artistic project is to mend the divisions of art practices and knowledges made marginal by the construction of modernity (and the museum as a modern institution), and bring the world together again. This begins with creative new narratives to frame MAM’s collection beyond its own limitations and the invisibilities created by it, for example in relation to black and indigenous artistic and cultural production.
The latest example of this new direction is visible in the current installation of the exhibition, Acts of revolt: other imaginaries about independence, which rethink the bicentennial of the Independence of Brazil to focus on the interstices of history: uprisings, riots and insurrections that preceded the “moment of Independence”, or that took place in subsequent decades, during the First and Second Reigns and the regency period.
5) Provide links to the institution website as relevant support material:
https://mam.rio/
12. Bildmuseet, Umeå University, Umeå, Sweden
1) First and Last Name of individual submitting the nomination:
Ann-Sofi Noring
1.1) Position of individual submitting the nomination:
Museum Advisor, board member
1.2) Institution submitting the nomination:
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
Bildmuseet, Umeå University has been at the forefront of introducing important artists to the north part of the world for more than 40 years and continues to develop vibrant and extensive program for a wide range of visitors.
3) Brief description of the practice or project. (max. 500 words)
Bildmuseet is one of the Nordic countries foremost venues for international contemporary art, a part of Umeå University and the heart of its Arts campus. On seven floors of striking architecture, the fields of Arts, Humanities and Science combine to consider key issues of our time. The exhibitions are produced in collaboration with artists, museums and universities worldwide, and often attract both national and international attention.
As a visitor you are invited to participate in openings, guided tours and creative workshops, listen to artist talks, debates, lectures and live music, watch film screenings and attend other events, all with free admission. After 40 years of operation, with the last decade in a museum building designed by Henning Larsen Architects by the Umeälven river, it keeps on developing a vibrant program of exhibitions and encounters with artists from all over the world.
Early on, thanks to links to antiapartheid forces in South Africa as well as the neighboring Sàpmi the program involves artists based in conflict zones of the world: Susan Meiselas, (2004), Britta Marakatt-Labba, Oscar Munoz (2009), Pia Arke, Zineb Sedira (2010), Walid Raad,Tracey Rose (2011), Dayanitha Singh (2012), Katarina Pirak (2014), John Akomfrah (2015), Faith Ringold (2020) and so on. Since 1982, Bildmuseet has brought art history into the contemporary discourse - Urban Concerns; Dada is Dada; Rock Carvings, Language and Environment; Perpetual Uncertainty, Art in the Nuclear Anthropocene etc.
Right now, the most ambitious presentation ever of Nancy Holt's multifaceted artistic oeuvre is shown and iconic artist as Hilma af Klint, Agnes Varda, Leonor Fini and Ana Mendieta have had their retrospectives throughout the years.
5) Provide links to the institution website as relevant support material:
https://www.bildmuseet.umu.se/
13. Bundanon, Wodi Wodi country, near the Shoalhaven River, on the South Coast of NSW, Australia
1) First and Last Name of individual submitting the nomination:
Katie Dyer
1.1) Position of individual submitting the nomination:
Senior Curator
1.2) Institution submitting the nomination:
Powerhouse Museum
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
Bundanon offers a radical and optimistic vision for how art, the environment, Indigenous
knowledges and climate science can be enmeshed in a cultural institution, scaffolded by ancient and contemporary traditions.
3) Brief description of the practice or project. (max. 500 words)
The recently revitalised Bundanon is a radical and optimistic reimaging of how art, culture, the environment and community can be enmeshed to foster future cultural expression and knowledge. Located on 1,000 hectares of Wodi Wodi country, near the Shoalhaven River, on the South Coast of NSW, almost 200 kms from the nearest metropolitan centre (Sydney), Bundanon is a museum; an artists’ residency; a platform for innovative transdisciplinary programming and education; a centre for art and environmental research and conservation, and the former home and studio of Arthur Boyd one of Australia’s leading modernist artists.
Bundanon opened its new Art Museum and Bridge for Creative Learning in 2022 in the aftermath of COVID-19 lockdowns and extensive flooding across NSW, which saw its launch programs cancelled. Located within a high-risk fire and flood zone, and deeply impacted by the 2019-20 Black Summer bushfires, it comprises a wildlife refuge with multiple biodiverse habitats – the combined challenge and dramatic beauty of its location necessitating a strong position on climate change, and the careful balance of cultural, educational and environmental activity. Bundanon’s regional bush location and national remit, ecological stewardship, and diverse creative and educational programming provides a timely case study for cultural organisations into the future.
At the forefront of climate change impacts, sustainability and a low carbon footprint are central to Bundanon’s mission. Designed in response to fire and flood mitigation, the Art Museum sits within the protective envelope of a hillside and the Bridge straddles a flood gully adjacent. The new infrastructure utilises solar power and harvests rainwater onsite. Bundanon maintains two carbon forests, undertakes annual cultural burns with First Nations custodians, and collaborates with custodians and environmental scientists on land care and bush regeneration strategies.
Originally Bundanon was gifted to the public in 1993 by Arthur Boyd and his wife Yvonne. Boyd occupies a critical position in Australia’s cultural development in the 20th century and his extraordinary gift was given with the imperative to foster an appreciation for, and understanding of, environment and culture. The institution now foregrounds the work of artists across disciplines (visual and performing arts, music, literature and dance) through onsite residencies, live events, learning programs and exhibitions. In 2022 it has presented rigorous exhibitions of 20th century art and the durational Siteworks events featuring artists, researchers and other knowledge holders in a program highlighting innovation in contemporary practice, technologies, digital platforms and inclusive workshops. Additionally, Bundanon offers an ‘end-to-end’ experience for artists across disciplines, from the creation of new works through onsite residencies, through to their delivery and display in the Art Museum, wider buildings and natural landscape. Bundanon’s artistic residency program generates significant opportunities for Australian artists locally and abroad to tell their stories in multiple art forms. Bundanon further offers learning experiences for young people that are site-responsive, immersive, and environmentally driven. Located in this regional setting, Bundanon is unique for its significant role in shaping cultural identity and creative practice in Australia.
5) Provide links to the institution website as relevant support material:
https://www.bundanon.com.au/
- Irish Museum of Modern Art, Dublin, Ireland
1) First and Last Name of individual submitting the nomination:
Sarah Glennie
1.1) Position of individual submitting the nomination:
CIMAM Board Member and Director, National College of Art and Design
1.2) Institution submitting the nomination:
14. National College of Art and Design Irish Museum of Modern Art
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
IMMA responded to COVID with a programme that opened up the museum and site and programme to different community groups, audiences and practitioners as an open space for new ideas and experiences to be shared,
3) Brief description of the practice or project. (max. 500 words)
IMMA’s new strategy 2022-2026 challenges the Museum to uphold four core pillars: to be a Radically Public Space, a Catalyst for Change, a Global Connector, and a Digital Leader. This strategy is underpinned by an aim to activate a more sustainable and inclusive vision of arts programming at the Museum, and IMMA Outdoors fulfils this mission.
Piloted in 2020, IMMA Outdoors is now central to the Museum’s programme each year, running annually from May to September. The Covid-19 pandemic forced IMMA to close its doors for an extended period in 2020, and the team quickly pivoted to explore how best to serve its local community beyond the gallery walls. Since then, IMMA has turned the Museum inside out, activating every corner of its 48-acre site at the historic Royal Hospital Kilmainham through workshops, commissions, pop-up events, and performances, and rejuvenating its importance as a convivial space for the surrounding communities.
The IMMA Outdoors programme has been hugely successful in drawing new audiences to the Museum and has proved to be a crucial tool in breaking down the psychological barriers that prevent people from engaging with contemporary art or museum environments. Instrumental in building IMMA’s reputation as a welcoming, civic space where people can freely engage with creativity on their own terms, IMMA Outdoors has helped to foster relationships between the Museum and community groups. Since 2020, connections have been forged with Poetry Ireland, Common Ground, Fatima Groups United, Dance Ireland, Mosney Direct Provision Centre via DCU, Helium Arts, Queer Culture Ireland, Fighting Words, Migrants and Ethnic-minorities for Reproductive Justice (MERJ), New Communities Partnership, and Broken Talkers, among others.
Sustainability continues to be at the heart of all IMMA Outdoors activities. 2022 saw the Visitor Engagement Team deliver biodiversity and garden tours and workshops as well as art workshops, yoga classes and other activities which encouraged visitors to relax and explore IMMA’s minor ecosystem in the heart of the city.
The positive response to this type of programming has led to the production of Earth Rising, a three-day eco art fair at IMMA, which will be piloted from October 21st – 23rd in 2022 with over fifty artists participating.
Having established an appetite and a need for this type of accessible art programming since its pilot year, the scale of IMMA Outdoors has continued to grow, along with its audience. The 2021 season resulted in 138 events and an audience of 180,205 visitors of all ages engaging with the site throughout the programme, an increase of 280% on the 2020 initiative. With this year’s iteration now at an end, IMMA Outdoors 2022 delivered 190 events, including a new IMMA Nights initiative on Thursday and Friday evenings, with 265,510 visitors to the site during the programme. With an increase in visitor numbers by 47.3%, IMMA Outdoors has specialised in delivering arts programming that is integral to creating a radically public space that local communities feel part of, and this will be continued as part of IMMA’s strategy into the future.
5) Provide links to the institution website as relevant support material:
IMMA WEBSITE: https://imma.ie/
VIDEO: IMMA Outdoors 2022: https://imma.ie/whats-on/imma-outdoors-2022/
15. Museum Sztuki, Lodz.
1) First and Last Name of individual submitting the nomination:
Bart De Baere
1.1) Position of individual submitting the nomination:
director
1.2) Institution submitting the nomination:
M HKA
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
This project links up reflection of the avant-garde tradition contemporary art museums originate from with a respectful focus on contemporary urgencies, the need to reconsider both the Ukrainian and the Russian artistic and cultural traditions, as separate yet related.
3) Brief description of the practice or project. (max. 500 words)
Dual project, Museum Sztuki, Lodz The Fire and the Ashes, Nikita Kadan
Citizens of the Cosmos. Anton Vidokle with Veronika Hapchenko, Fedir Tetyanych and the Collection of the International Cosmist Institute.
The nomination of this dual project is a salute d’honneur to the magnificent museologic, intellectual and cultural project Jaroslaw Suchan developed in Muzeum Sztuki, Lódz. Daniel Muzyczuk, his chief curator and Head of Modern Art Department was in charge of this.
The Fire and the Ashes by Nikita Kadan is presented on one floor with the group exhibition Citizens of the Cosmos. Anton Vidokle with Veronika Hapchenko, Fedir Tetyanych and the Collection of the International Cosmist Institute.
These two separate exhibitions are related because they share a common reference, the oeuvre of the important Ukrainian avantgarde artist Fedir Tetianych who is valorised through this.
Both exhibitions also relate each in their own way to the avantgarde core of the Lodz collection, the continuation of the practice of Museum Sztuki in this regard over the past years.
Nikita Kadan finds in this setting an exquisite location for his focus on the history of the Ukrainian avant-garde, linked to its socio-political setting, its architecture and design, an understanding he has been developing in a way that is both highly precise, specific, reflective and personal. He lets the past and the present reflect into one another, the 1905 Revolution into the ongoing war, the luminous and the dark side of the avant-garde being intertwined.
One of the many points in the Ukrainian art tradition Kadan has been advocating for, an oeuvre he even helped to save, it that of the Ukrainian avantgarde artist Fedir Tetianych.
Anton Vidokle takes up this lead by Kadan and denationalises the important tradition of cosmism, most often considered as quintessentially Russian, labelling cosmism rightfully as international, pointing towards Tetianych as a radical Ukrainian representant of it and positioning him as a key reference.
Museum Sztuki allows two important artistic positions – that of Anton Vidokle and that of Nikita Kadan – to share this reference without forcing them to be together.
This setup this is a sophisticated reflection on the complexity of the relations between the Russian and Ukrainian artistic traditions, irresolvable at this point in time. It gives priority in the present to the focus on Ukraine as a cultural sphere on its own behalf.
Interesting enough already because of its single components and because of their relation between contemporary art and the modern canon, the project also deals in an outstanding way with the impossible state of affairs at this moment, by articulating both projects rigorously as separate, merely related by their common starting point and by the suggestion of the museum to visit them together.
In this way the project is also outstanding in its respect for the hardship of Ukraine today. It presents Ukraine as a leading artistic voice and is merely indicating – but explicitly not stating
- the possibility of a future reconsideration of the relations between both cultural spheres.
Citizens of the Cosmos: Anton Vidokle with Veronika Hapchenko, Fedir Tetyanych and the Collection of the International Cosmist Institute, exhibition view, Muzeum Sztuki, Dódź, photo: Anna Zagrodzka.
5) Provide links to the institution website as relevant support material:
https://msl.org.pl/citizens-of-the-cosmos-anton-vidokle-with-veronika-hapchenko-fedir- tetyanych-and-the-collection-of-the-international-cosmist-institute/
and
https://msl.org.pl/the-fire-and-the-ashes-nikita-kadan/
16. Kokama museums, Manaos, Amazonia, Brazil.
1) First and Last Name of individual submitting the nomination:
Camila do Valle
1.1) Position of individual submitting the nomination:
Researcher, UFRRJ and Projeto Nova Cartografia Social da Amazônia
1.2) Institution submitting the nomination:
UFRRJ – University Federal Rural of Rio de Janeiro
2) Argue in one sentence why you think the project you nominate is outstanding and could serve as an example for the entire community of modern and contemporary art museums.
Because the Kokama’s museums that are located in Manaos, Amazonia, they bring a kind of Art that is not separated from Science: they both, Art and Science, are parts of their traditional knowledge as a structure unique of their cultural identity and also are related to nature in a sustainable and decolonized way.
3) Brief description of the practice or project. (max. 500 words)
In many parts of the world we can witness a revival of the pride of the cultural identity of the indigenous people that bring important information from the past and from the present of this ethnical communities.
Informations that are vital in this present moment that we have to face so many cultural changes related to climate change and pandemia: originary communities have traditional knowledge and they do not separate Science and Art.
So: Science and Art can work together to help us to find new answers about how can we live in the planet in a sustainable way. Museums can play a very important role as key spaces that bring social circulation of new engaging representations that the indigenous people are creating in order to decolonize the history that was told about them until now and so that they can show their commitment to knowledge and nature at the same time.
That’s why this nomination of this complex of two Kokama’ museums that work together in the city of Manaos seems to be so important. Being grounded in the local community created by and for them helps to preserving traditional knowledge, language and crafts.
Mainstreams museums can seem inaccessible to indigenous communities by several reasons: both geographical and cultural. So that if we can develop relations and partnership we can contribute to reinforce cultural identity by preserving this precious traditional knowledge so different from the non indigenous knowledge because they do not damage nature and they do not separate Arte and Science.
And also, this small museums developed by themselves can become spaces for intergenerational community dialogue. Language, cultural practices and traditional knowledge are understood as Art and Science but they are not understood as people from mainstream society undertand it: as comercial appopriation.
They’ve got a way of life that generate the reproduction of the so called wildlife at the same time that produce the co called cultural life. And Kokama people do that in Amazonia and they create this structure of a museum to perserv it by making posible to dialogue with the younger generations of the kokama people and also with external people with whom they make contact.
MUSEUS
INDÍGENAS E
QYILOMBOLAS:
CENTRO DE CIE NC I AS E SABERES
Heloísa Bertol Domingues • Cynthia Carvalho Martins Patricia Maria Portela Nunes · Altaci Correa Rubim Emmanuel de Almeida Farias lúnior • Sheilla BorgesDourado
Maria Magela Mafra de Andrade Ranciaro • Rosa Elizabeth Acevedo Marin Eliana Teles Rodrigues· Camila do Valle Fernandes • Murana Arenillas Oliveira (org.l • Alfredo Wagner Berno de Alm eida (o rg.l
5) Provide links to the institution website as relevant support material: http://novacartografiasocial.com.br/lancamento-do-livro-museus-indigenas-e-quilombolas- centro-de-ciencias-e-saberes/
http://novacartografiasocial.com.br/inauguracao-do-centro-de-ciencias-e-saberes- espaco-cultural-indigena-kokama-yats-kra/
http://novacartografiasocial.com.br/inauguracao-do-centro-de-ciencias-e-saberes- tradicionais-kokama-antonio-samias-na-comunidade-indigena-kokama-do-ramal-do- brasileirinho-na-cidade-de-manaus-am/