The Mexican curator will be leading the Shanghai Biennale in 2018.
The recent announcement also includes two new appointments for the 2018 edition of the Biennale.
The 12th edition of the Shanghai Biennale will take place at the Power Station of Art (PSA) from 10 November 2018 to 10 March 2019. After careful consideration by members of the PSA Academic Committee and confirmation from the Shanghai Municipal Administration of Culture, Radio, Film &TV, Cuauhtémoc Medina has been appointed the Chief Curator of the 2018 Shanghai Biennale. The official title for the 2018 event will be announced at the end of this year.
Alongside the Chief Curator, two other appointments have been made, as a result of PSA’s experimentation with the event’s academic research methodology, promotion and administrative management. Shi Hanato will be the Biennial’s Chief Coordinator, and He Huanhuan will be its Head of Administrative Affairs.
Born in Mexico, Cuauhtémoc Medina is an internationally renowned art curator, critic and historian. He currently serves as Chief Curator at the Museo Universitario Arte Contemporáneo (MUAC) in Mexico City, where he has curated a number of exhibitions by artists such as Harun Farocki, Raqs Media Collective, Jeremy Deller, Vicente Rojo, Jill Magid and Hito Steyerl, among others.
Medina curated the ninth edition of Manifesta in 2012, and Teresa Margolles’s Mexican Pavilion for the 2009 Venice Biennale, and has been an associate curator of Latin American art at London’s Tate Modern. Since 1993 he has been a full-time researcher and lecturer at Instituto de Investigaciones Estéticas at the National Autonomous University of Mexico, and is recipient of the Menil Collection’s Walter Hopps Award for Curatorial Achievement
Speaking of his appointment, Medina said as reported by PSA:
Biennales are large scale exhibitions that, beyond offering a certain perspective on the potential of art and culture today, inscribe a city and an event as a provisory and symbolic artistic world center. That Shanghai hosts an exhibition of that kind is most appropriate for it provides a clear image of the current decentering of our cultural narratives and the significance that China and Asia have in the cultural and economic circuits of today.
The Shanghai Biennale ought to become in the next years one of the most important sites of rethinking and renegotiating the geographies and concepts of contemporary art as we get into a new world history era. I hope that I will be able to produce, in collaboration with colleagues from China and around the world, an exhibition that will enhance the importance of a growing cultural production that infuses subjective complexity into the complex texture of our times.
C. A. Xuan Mai Ardia
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