READERS Running headlines 94 ASBURY Michael 96 BASEMAN Jordan 98 BISWAS Sutapa 100 CROSS David 102 EARLEY Rebecca 104 fAIRNINGTON Mark 106 fAURE WALKER James 108 fORTNUM Rebecca 110 KIKUCHI Yuko 1<strong>12</strong> NEWMAN Hayley 114 PAVELKA Michael 116 QUINN Malcolm 118 TULLOCH Carol 93
94 ASBURY Michael BiOgrAPhY Dr Michael Asbury is Reader in the History and Theory <strong>of</strong> Art and a core member <strong>of</strong> the research centre for Transnational Art, Identity and Nation (TrAIN). An internationally recognized specialist in modern and contemporary art in Brazil, he has published extensively and has curated numerous exhibitions in the UK, Europe and Latin America. rESEArCh StAtEMENt The geopolitical expansion <strong>of</strong> the canons <strong>of</strong> art beyond the traditional hegemonic Euro-American axis – a fact corroborated by the proliferation <strong>of</strong> international biennials and art fairs, as well as the revised and enlarged scope <strong>of</strong> interests expressed by auction houses – raises the question as to whether art historical precedents, imbued by radicalism and the rhetoric <strong>of</strong> postcolonial and/or cultural studies, have not in fact become mere means <strong>of</strong> legitimizing certain forms <strong>of</strong> contemporary practices. My practice, both as writer and curator, is founded on the rigour <strong>of</strong> art historical research and a critical engagement with contemporary art that traverses commercial, academic and museo logical domains. SELECtED OUtPUtS AND AChiEVEMENtS ASBURY Michael READER SELECTED PUBLICATIONS 2010 Julio Villani: It’s a Game, Paris: Archibooks & Sautereau Éditeur. 2010 Shirley Paes Leme: Heteropias Cotidianas, São Paulo: Editora Alfaiatar. SELECTED ARTICLES AND CHAPTERS <strong>2011</strong> ‘The Oruboru Effect’, in: Third Text Journal, London (expected). <strong>2011</strong> ‘flans, Urnas Quentes and the Radicalism <strong>of</strong> a Cordial Man’, in: Antonio Manuel, Americas Society, New York (expected). <strong>2011</strong> ‘Viver é muito perigoso’ (To Live is Very Dangerous), in: Shirley Paes Leme, São Paulo (expected). <strong>2011</strong> ‘Miguel Palma: Man, Machine and Motion: Night, Night, Mr Tenjag’, Mead Gallery, Warwick <strong>Arts</strong> Centre, Coventry (expected). <strong>2011</strong> ‘Ocupações/Descobrimentos’, in: Vaz-Pinheiro, G. (ed.), (Des)locações: Exílio, Topologia, Deslocalização, faculdade de Belas Artes, Universidade do Porto, O Porto. <strong>2011</strong> ‘Miguel Palma’s State <strong>of</strong> the Art’, in: Miguel Palma: Assembly Line, fundação Caloste Gulbenkian foundation, Lisbon. 2010 ‘Barbarela Cravo e Canela’, in: Ernesto Neto, Intimacy, exhibition catalogue, Astrup fearnely Museum <strong>of</strong> Modern Art. SELECTED EDITORSHIPS 20<strong>12</strong> Co-editor, ‘Contemporary Art and the Black Atlantic’ (working title) in: Critical forum Series, Tate Liverpool and Liverpool University Press (predicted). 20<strong>12</strong> Co-editor, ‘Meeting Margins: Transnational Art’ in: Latin America and Europe 1950–78, AHRC project outcome (predicted). <strong>2011</strong> Dossier Meeting Margins including authored article ‘A Popularisação do Pensamento Científico’, Rio de Janeiro: Revista Concinnitas, UERJ (expected). 2009 Anna Maria Maiolino: Order and Subjectivity, Nicosia: Pharos Publishers. SELECTED CURATORSHIP 2010 Guest curator, Galeria Millan, São Paulo. 2009 Guest curator, Camden <strong>Arts</strong> Centre, London. 2009 Guest curator, Museum <strong>of</strong> Contemporary Art, fortaleza. 2008 Guest curator, Municipal Museum, Nicosia. 2008 Guest curator, Nara Roesler Gallery, São Paulo. 2006 Guest curator, Henry Moore Institute, Leeds. 2005–09 Guest curator, Pharos Trust, Nicosia. 2002/09 Guest curator, Gallery 32, London. 2001/08 Guest curator, Tate Modern, London. Antonio Manuel, Killed a Dog and Drank its Blood, ink on newspaper, 1967 95
Change language