Barbara Vanderlinden

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Barbara Vanderlinden
Barbara04BW.jpg
Born
Barbara Magdalena Renata Vanderlinden
NationalityBelgian
Alma mater Vrije Universiteit Brussel
Occupation(s)Curator, art historian, editor, author

Barbara Vanderlinden (born 1965) is a Belgian art historian, curator, and institutional director known for her contributions to contemporary art discourse and experimental curatorial practices. She earned an MA in Philosophy from the Vrije Universiteit Brussel and an MA in Art from the Katholieke Universiteit Leuven Campus Sint-Lucas Brussel . Vanderlinden has curated exhibitions and programs that interrogate the intersection of art, philosophy, and institutional critique. Her work often emphasizes collaborative and interdisciplinary frameworks, reflecting her academic background and engagement with avant-garde movements. She has held leadership roles in cultural organizations and contributed to publications on contemporary art and curatorial theory.

Contents

Early life and education

Vanderlinden graduated with a MA in Philosophy at the Vrije Universiteit Brussel and an MA in Art from the Katholieke Universiteit Leuven Campus Sint-Lucas Brussel.

Professional Career

Vanderlinden began her career in 1991 as adjunct curator for Antwerp, Cultural Capital of Europe 1993, where she contributed to the contemporary art program. Key exhibitions she worked on included: Sublime Void at the Museum van Hedendaagse Kunst Antwerpen; On Taking a Normal Situation and Retranslating it into Overlapping and Multiple Readings of Conditions Past and Present at Museum van Hedendaagse Kunst Antwerpen; New Sculptures for Middelheim at the Middelheimmuseum.

From 1996 to 2006, Barbara Vanderlinden served as the founding director of Roomade, a Brussels-based arts organisation focused on contemporary art. During her tenure, the institution commissioned and produced numerous exhibition projects, artworks, and publications, contributing to Brussels' cultural landscape. [1] [2]

In 1998, Vanderlinden was appointed director of the contemporary art program at Antwerpen Open Vzw. During her tenure, she organized and co-curated Laboratorium with Hans-Ulrich Obrist for the Anton Van Dyck Year, among other projects. [3] [4] [5]

From 2006 to 2009, Vanderlinden served as the founding director of the Brussels Biennial, a contemporary art biennial, and acted as artistic director for its inaugural edition in 2008. [6] [7] [8] [9]

Board Membership and Leadership Roles

From 1998 to 2004, Barbara Vanderlinden served as Vice President of the Contemporary Art Advisory Committee of the Ministry of Culture of the Flemish Community, becoming the youngest person and the first woman ever appointed to the role.

In 1997, Vanderlinden served on the artistic committee of the Krasnoyarsk Museum Biennale, an international contemporary art event held in Krasnoyarsk, Russia.

In 1997, Vanderlinden served a member of the Konklave (Conclave), a curatorial initiative organized by the Stiftung für Kunst und Kultur (Foundation for Art and Culture) in Bonn, Germany. The group, comprising 33 international curators and art professionals, advised on the development of the exhibition Zeitwenden, which opened in December 1999.

From 1998 to 2004, Vanderlinden served as a board member of the Manifesta Foundation, the organizer of Manifesta, the European Nomadic Biennial. [10]

From 1999 to 2006, Vanderlinden served on the board of directors of De Appel, an Amsterdam-based contemporary arts centre founded in 1975. She was appointed to the role during the tenure of Saskia Bos, who directed the organization from 1984 to 2006.

Curatorial Work

In 1998 she curated the exhibition Fascinating Faces of Flanders 58/98 Two hours wide or two hours long [11] at the Centro Cultural de Bélem during that year's Expo '98 (1998 Lisbon World Exposition), a project about art and society featuring artists from the 15th century to the 20th century, and contemporary period.

In 1999, she was the co-curator of its second Manifesta 2 - European biennial of contemporary art in Luxembourg and was a member of the board of the Manifesta biennale in Amsterdam (2000–2004).

In 1999, she co-curated the exhibition Generation Z at MoMA PS1, an exhibition project exploring the attitudes of emerging artists at the end of the century from around the world. [12] [13] In 2000, she curated an interdisciplinary exhibition and performance program for the Brussels 2000, European Capital of Culture, titled Indiscipline, including the projects Boris Groys : The Art Judgement Show [14] and Carsten Höller: The Boudewijn Experiment (2000–2001).

In 2001, Vanderlinden was appointed co-curator of the 24th Bienal de Sao Pauloalongside Ivo Mesquita, Adriano Pedrosa, Cuauhtémoc Medina, Louise Neri, and Lilian Tone. The edition, titled Núcleo histórico: representações utópicas (Historical Nucleus: Utopian Representations), aimed to critically reassess 20th-century avant-garde movements. However, due to financial and organizational challenges, the biennial was ultimately canceled. [15] [16]

In 2004, she was curator of the Taipei Biennial 2004: Do You Believe In Reality?, Taipei. [17] [18] [19] [20]

In 2018, she was curator of A 37 90 89: Beyond the Museum (2018–2019) at the Museum for Contemporary Art in Antwerp. [21]

In 2019, she curated the first retrospective exhibition in Italy of Italian artist Mariella Simoni at MAMBo – Museo d’arte Moderna di Bologna (Mariella Simoni. 1975¬2018 ). [22]

Editorial Work

Vanderlinden was the editor and co-author of the major source book The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe (MIT Press, 2005) [23] [24] [25] and co-author (with Francesco Bonami and Nancy Spector) of Maurizio Cattelan (Phaidon Press, 2003). [26]

Educational Work

From 2005 to 2009, she was Founding Visiting Professor at the Gwangju Biennale International Curators Course, Associate Professor of curatorial studies for the CCS Bard Master of Arts Program in Curatorial Studies in Annandale-on-Hudson, New York, and Professor of Exhibition and Museum Studies (2005–08) at the San Francisco Art Institute. [27]

She served as Founding Director of the Exhibition Laboratory and Professor of exhibition studies at Uniarts Helsinki, University of the Arts Helsinki where she curated the exhibition Laboratory of Hearing (2015). [28]

Roomade, 1995–2006

In 1995, Vanderlinden founded the Brussels-based Roomade, "an organisation working with artists, philosophers and other intellectuals on projects that can hardly be commercialised or 'musealised'", [29] "embedded in a specific social situation and intended for a new audience." [30]

The emergence of Roomade was directly linked to the finding that in the mid–1990s, Brussels lacked several vital functions and spaces for contemporary visual art. Roomade intended to fill this gap and take creative action on this terrain vague.

From 1996 to 2006, Vanderlinden served as its founding director, a period during which the organisation commissioned and produced a string of notable exhibition projects.

In its first year, Roomade started with the Office Tower Projects series (1996–1998) on several vacant floors of the Brussels' Manhattan Center: a megalomaniac metropolitan high-rise in the North district of Brussels that got out of hand.

An early 1997 article in Knack described the organisation as follow: "Roomade rightly interpreted the core of the problem as an insane miscalculation of scale and formulated the subtitle of her Office Tower Manhattan Center Project as a counter-proposal: On the desperate and long neglected need for small events." [31]

Notable projects include Matt Mullican Under Hypnosis (1996), Boris Groys: The Art of Judgement Show (2000–2002), Carsten Höller: The Boudewijn Experiment (2000–2001); participating artists, among others, Raqs Media Collective, Tobias Rehberger, Anne Daems, Regina Möller, Andreas Slominski, Jan Fabre and Ilya Kabakov, Kobe Matthys, Gert Verhoeven, Carsten Höller, Boris Groys, Franciska Lambrechts and Honoré d’O, Nico Dockx, Stefano Boeri, Jean-Christophe Royoux and Caecilia Tripp, and Ana Torfs.

Roomade lay also at the base and co-produced several large scale projects in Antwerp and Brussels, including, in 1999, Laboratorium (co-curated with Hans-Ulrich Obrist) and in 2000, Indiscipline (co-curated with Jens Hoffmann). [32]

In 2006, the directors of Roomade transited the organization to launch the first Brussels Biennial, after which the legal entity of Roomade ceased to exist. [33] [34]

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References

  1. ↑ "Koninklijke druk keldert project van Brussel 2000". De Standaard (in Flemish). 4 November 2000. Retrieved 2021-01-17.
  2. ↑ Obrist, Hans-Ulrich. "Summer 2022". www.artforum.com. Retrieved 2022-08-08.
  3. ↑ Bishop, Claire (2004). "Antagonism and Relational Aesthetics". October . Fall 2004 (110): 51–79. doi:10.1162/0162287042379810. S2CID   9591417.
  4. ↑ Holmes, Brian. "The Artistic Device, Or the Articulation of Collective Speech" (PDF). Retrieved 19 November 2016.
  5. ↑ "Laboratorium". Trans> Arts, Cultures, Media. #8 (2000).
  6. ↑ Vanderlinden, Barbara (2008). Brussels Biennial, "Re-used Modernity.". Cologne: Walter König Verlag. ISBN   9783865605559.
  7. ↑ "Première Biennale de Bruxelles". La Libre Belgique (in French). 11 September 2008. Retrieved 22 January 2016.
  8. ↑ Demos, T. J. "Brussels Biennial 1". Artforum International. 47 (6 (February 2009)): 180–81.
  9. ↑ Steverlynck, S. (2009). "Brussels Biennial 1: Re-Used Modernity: Brussels, Belgium". Art on Paper. 33 (2): 44–47.
  10. ↑ "All Together Now". Frieze (42). Retrieved 2016-11-20.
  11. ↑ Vanderlinden, Barbara (1998). The Fascinating Faces of Flanders 58/98 Two hours wide or two hours long. Antwerp: City of Antwerp. ISBN   90-209-2310-2.
  12. ↑ "MoMA PS1: Exhibitions: Generation Z". momaps1.org. Archived from the original on 2016-11-03. Retrieved 2016-11-20.
  13. ↑ "zingmagazine10|PS1 Contemporary Art Center|Generation Z". www.zingmagazine.com. Retrieved 2016-11-20.
  14. ↑ "De Witte Raaf". www.dewitteraaf.be. Retrieved 2016-11-20.
  15. ↑ https://www1.folha.uol.com.br/fsp/ilustrad/fq06099922.htm
  16. ↑ "25ª Bienal de SP define seus curadores". Folha de S.Paulo . 26 August 1999. Retrieved 2016-11-20.
  17. ↑ Gluck, Caroline (2004-10-29). "Taipei's artistic take on reality". The New York Times. ISSN   0362-4331 . Retrieved 2016-11-20.
  18. ↑ group, 臺北市10461中山北路三段181號, 181 ZhongShan North Road Section 3 Taipei 10461 Taiwan, telephone +886-2-2595-7656, info@tfam.gov.tw, TFAM media. "TFAM | Home | Exhibitions | The 2004 Taipei Biennial ：Do You Believe in Reality?". www.tfam.museum. Retrieved 2016-11-20.{{cite web}}: |last= has generic name (help)CS1 maint: multiple names: authors list (link) CS1 maint: numeric names: authors list (link)
  19. ↑ "Taipei Biennial adds new perspectives". www.ChinaPost.com.tw. Retrieved 2016-11-20.
  20. ↑ Campagnola, S. "Reality checking in Taipei: Barbara Vanderlinden and Amy Huei-Hua Cheng talk about the Taipei Biennial 2004". Flash Art International: 37, 58.
  21. ↑ ""A 37 90 89: Beyond the Museum" at M HKA – Museum of Contemporary, Art Antwerp •". Mousse Magazine (in Italian). 2018-12-13. Retrieved 2021-01-17.
  22. ↑ "Gli appuntamenti di sabato 3 a Bologna e dintorni: il ritorno dei Morcheeba". la Repubblica (in Italian). 2018-11-03. Retrieved 2022-08-08.
  23. ↑ Schuster, Aaron (2 September 2006). "The Manifesta Decade". Frieze (101). Retrieved 2016-11-20.
  24. ↑ O’Neill, Paul. "The Manifesta Decade". Art Monthly. 299 (September 2006): 44.
  25. ↑ DAVIES, V. (2007). "The Manifesta Decade: Debates on Contemporary Art Exhibitions and Biennials in Post-Wall Europe by Barbara Vanderlinden and Elena Filipovic (Eds)'". Art Book -London. 1 January: 78–79. doi:10.1111/j.1467-8357.2007.00785_5.x.
  26. ↑ "Maurizio Cattelan | Art | Phaidon Store". Phaidon. Archived from the original on 2011-03-13. Retrieved 2016-11-20.
  27. ↑ "SFAI: An interdisciplinary and transnational approach to education in art and culture | Art & Education". Art & Education. Retrieved 2016-11-20.
  28. ↑ "Laboratory of Hearing". Art & Education. 2015. Archived from the original on 28 January 2016. Retrieved 22 January 2016.
  29. ↑ "The Art Judgement Show – De Witte Raaf" (in Flemish). Retrieved 2022-08-08.
  30. ↑ Braet, Jan (1997-03-11). "Stad van kleine gebeurtenissen". Knack (in Dutch). Retrieved 2022-08-08.
  31. ↑ Braet, Jan (1997-03-11). "Stad van kleine gebeurtenissen". Knack (in Dutch). Retrieved 2022-08-08.
  32. ↑ Withers, Rachel (2000). "Call to Disorder". Artforum International. 1, Sept. vol. 39: 77.
  33. ↑ Lorent, Claude. "Une B.B. collective". La Libre.be (in French). Retrieved 2022-08-08.
  34. ↑ "KORT". De Standaard (in Flemish). 25 January 2007. Retrieved 2022-08-08.
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