Curating the Contemporary (CtC) is a meeting place for discussions on contemporary art and its practices. It functions as a platform and resource for an international community of artists, curators, museologists and other specialists, sharing diverse perspectives in the format of exhibition reviews, interviews, previews, special features, academic pieces and creative texts.

CtC was established in October 2013 and has since grown as an experimental publisher, through the collaboration with different contributors and institutions. We pride ourselves on being an unbiased and inclusive organisation, welcoming proposals for content from people of any background and profession.

CtC is continually evolving.


Editorial Team

Alejandro Daniel Ball is a Peruvian/American new media curator and artist, as well as a professional audio/visual technician, practicing between London and Dundee. His work and interests lie in the exploration of language as social coding and its integration into human culture and consciousness through new media practices and sonic elements. He has participated as an artist/curator for the recent exhibitions Ambivalent (Bank Space, London 2014) and A Book of Burning Matches: Collecting Installation Art Documents (me Collectors Room, Berlin, 2015) and has co-curated Post-Internet Landscapes (PIL Project) (The Cass, London, 2015), the line that (…), (Five Years, London, 2015), dontdrinkthemilk#1, (TripSpace, London, 2014). More recently, Alejandro took part in the collaborative project LIMITACTION and was keynote speaker for the London Open: Live talk event IN TRANSITION: the artistic and curatorial residency (Whitechapel Gallery, 2015). Currently, Alejandro is undertaking a PhD with the Duncan of Jordanstone College of Art and Design researching Internet art and curatorial practices on this medium.

Caterina Berardi is an art writer and cultural publicist based in London. She studied Art History in Rome and moved to the UK to attend the MA course in art criticism and curation jointly taught by The Whitechapel Gallery and London Metropolitan University. She wrote about art for Droste Effect, a bilingual magazine of contemporary art based in Milan, but eventually decided to concentrate solely on Curating the Contemporary while pursuing her professional career in press and communications. Her recent curatorial projects include: Ambivalent, a group show investigating uncertainty and borderline feelings (The CASS Bank Space, London, 2014); A Statue is Present (Royal College of Psychiatrists, London, 2015), multimedia exhibition of new commissions by Daniel Silver, Travis Jeppesen, Mikey Cook and Jérémie Magar, created in response to Bethlem Hospital’s statues of Raving and Melancholy Madness. Caterina currently works in press and PR across arts and heritage.

Amy E. Brown is a painter, curator and writer. She attained a BA (Hons) in Painting from Gray’s School of Art, Aberdeen in 2010 and a MA with Distinction in Curating the Contemporary from the London Metropolitan University and Whitechapel Gallery in 2015. During her graduate placement as exhibitions intern at the Whitechapel Gallery, London she contributed to projects including; Lynette Yiadom-Boake: Natures, Natural and Unnatural, A Utopian Stage: Shiraz-Persepolis Festival of Arts and Emily Jacir’s Europa. She is co-founder of amaCollective. Recent projects include; Falling Fictions, meCollectors Room, Berlin, the line that (…), Five Years, London, shapes and things, Fill the Gap, London, dontdrinkthemilk#1, TripSpace, London and A Sense of Things, Zabludowicz Collection, London.

Miriam La Rosa is a curator and museologist based in London. She holds an MA in Curating the Contemporary from London Metropolitan University and Whitechapel Gallery, a Master of Museology from Reinwardt Academy, Amsterdam, and a BA (Hons) in Art History from University Cattolica, Brescia. She is co-founder of the curatorial collective amaCollective and has worked in Education, Public Programmes and Exhibitions departments of institutions such as Whitechapel Gallery, London (for the exhibition Rivane Neuenschwander, The Name of Fear), Stedelijk Museum, Amsterdam (for the exhibition ZERO: Countdown to Tomorrow, 1950s-60s) and Van Abbemuseum, Eindhoven (for Sheela Gowda: Open Eye Policy and Piero Gilardi – Samen Werken). Recent projects include: the artistic and curatorial residency LIMITACTION (Window Space, London), collaborations with artist-run spaces BOCS, Catania, and Five Years, London, and the exhibitions FRAGILE (Galleria Upp, Venice) and A Sense of Things (Zabludowicz Collection, London). She is currently Senior Researcher at Montabonel & Partners.

Silvia Meloni is a curator based in Paris, France. She graduated in 2011 in Art History at Università deli Studi di Milano, in 2013 she completed an MA degree in Art History in Pavia with specialisation in Contemporary Art and in 2015 an MA in Curating the Contemporary from the Cass Faculty of Art and Whitechapel Gallery. She worked at Sprüth Magers London and collaborated with The Agency Gallery London, while working on independent projects. She is currently assistant at Galerie Kamel Mennour, Paris. Her research pays attention to the relationship between contemporary art and history.

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