Join La Trienal curators Rodrigo Moura, Susanna Temkin, and Elia Alba in conversation about El Museo’s first national survey of contemporary Latinx art, ESTAMOS BIEN – LA TRIENAL 20/21. Moderated by Rocío Aranda-Alvarado, Program Officer, Creativity and Free Expression, Ford Foundation, the curators will address the curatorial process and its focus on an intersectional approach to Latinx identity; the evolution of the Museum’s renowned [S] Files series to today’s national focused survey; and how the exhibition has been reconceived in times of COVID-19.
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Rocío Aranda-Alvarado Bio:
Rocío Aranda-Alvarado is part of the Creativity and Free Expression team. She joined Ford in 2018 after serving as curator at El Museo del Barrio for nearly a decade. In that role, she presented visual arts and programming that reflected the history and culture of El Barrio as well as the greater Latinx and Latin American diaspora. Prior to that, from 2000 to 2009, she was the curator at the Jersey City Museum. Concurrent to her work in museums, Rocío taught as an adjunct professor; consulted and curated independently on Latinx and Latin American art and culture; and published and advised, in both a scholarly and curatorial capacity, at the Smithsonian Institution. She earned her PhD in art history from the City University of New York’s Graduate Center.
Curator’s Bio:
Elia Alba is a multidisciplinary artist, who works in sculpture, photography and video. She has exhibited at El Museo del Barrio, New York; Stedelijk Museum, Amsterdam; Smithsonian Museum of Art, Washington D.C.; Perez Art MuseumMiami; National Museum of Art, Reina Sofía, Madrid; and the 10th Havana Biennial. Alba has received the Studio Museum in Harlem Artist-in Residence Program; the Joan Mitchell Foundation Grant and most recently the Anonymous Was A Woman award. A published author, her recent book, Elia Alba, The Supper Club, (Hirmer, June 2019), critically acclaimed by The New York Times and produced by the Shelley and Donald Rubin Foundation, brought together artists, scholars, and performers of diasporic cultures to examine race and culture in the United States through photography, food, and dialogue.
Rodrigo Moura is a curator, writer, and editor working in contemporary and modern art and currently serving as Chief Curator at El Museo del Barrio, New York. As the Adjunct Curator of Brazilian Art at Museu de Arte de São Paulo Assis Chateaubriandbetween 2016 and 2019, he curated and co-curated exhibitions such as Djanira: Picturing Brazil (2019), Melvin Edwards: Lynch Fragments (2018), Who’s afraid ofTeresinha Soares? (2017), and Portinari Popular (2016). Prior to this, he was the Artistic Director of Instituto Inhotim (Minas Gerais, Brasil) between 2014 and 2015, where he also worked as a curator between 2004 and 2013. Independently, he has curated critically acclaimed exhibitions such as Time Kills: Moving Image from the Julia Stoscheck Collection (Sesc Paulista, 2019), Visiones de la tierra / El MundoPlaneado: Coleccion Luis Paulo Montenegro (Santander Art Room, Madrid, 2018), Mauro Restiffe: Album (Pinacoteca de São Paulo, 2017), DOUBLES, DOBROS, PLIEGUES, PARES, TWINS, MITADES (The Warehouse, Dallas, 2017), artevida (several venues, Rio de Janeiro, 2014) and LINES (Hauser & Wirth Zurich, 2014), among several others.
Susanna Temkin is a Curator at El Museo del Barrio, where she most recently organized the museum’s fiftieth anniversary exhibition, Culture and the People: El Museo del Barrio, 1969-2019, drawing from objects from the Permanent Collection. Prior to this, she served as Assistant Curator at Americas Society in New York, as well as the research and archive specialist at the Cecilia de Torres, Ltd., where she assisted in co-authoring the digital catalogue raisonné of artist Joaquín Torres-García. Temkin earned her master’s and PhD degrees from the Institute of Fine Arts, New York University, where her research concentrated on modern art in the Americas, with a focus on Cuba. She has published essays and reviews in the Rutgers Art Review, Burlington Magazine, and Hemispheres, and authored the chronology of Concrete Cuba: Cuba Geometric Abstraction from the 1950s, produced by David Zwirner Books.