CURATORS E MODERATORS

Every year we invite Portuguese and international curators, who put together an exclusive program for FUSO. Each curator is responsible for one of the screening sessions of the festival, and presents a selection of works chosen according to a proposed theme.

In addition to the curators, prominent people from the cultural area are also invited to promote a debate around video art and mediate a conversation with the curator before each session, in order to enrich the public’s knowledge.

The daily interaction of curators and artists during the festival week provides for the meeting and establishment of numerous partnerships, generating a network of connections and collaborations.

Jean-François Chougnet (France) is the artistic Diretor of FUSO and has dedicated his career to cultural policies. He was Managing Diretor of Villette, Paris (2001-2006). In 2005, he was the General Commissioner of the Year of Brazil in France. He directed the Berardo Foundation in Lisbon from 2007 to 2011. In 2011, Jean-François Chougnet became CEO of Marseille-Provence Capital of European Culture 2013. From 2014 to 2022 he was president of the Musée des Civilizations de l’Europe et de la Méditerranée (Mucem), in Marseille, France. Jean-François Chougnet is a curator and consultant on museum projects.

Pascale Cassagnau has a PhD in Art History, and is an art critic. Since 2008 she has been responsible for the audiovisual and new media collections at the Centre National des Arts Plastiques (National Center for Visual Arts) of the French Ministry of Culture. Her research focuses on new cinematographic practices and their cross-dialogue with contemporary creation. She published, among others : Enquêtes sur le troisième cinéma (Ed. Isthmes), Un Pays Supplémentaire (Ed., École Nationale des Beaux-Arts, Paris), about the role of contemporary creation in the architecture of the media. Intempestif. Indépendant, fragile. Marguerite Duras et le cinéma d’art contemporain, was published by Presses du Réel (2012). She is also the author of essays on Apichatpong Weerasethekul, Peter Handke, Jean-Marie Straub and Danièle Huillet, Chantal Akerman, and Alexander Kluge.

Diagramme Monteiro, an essay about the filmmaker João César Monteiro, written in collaboration with Hugues De Cointet, is to be published in 2023, as well as Stratégies obliques, a dictionary on Bertrand Bonello.

Benjamin Cook is the Founder Diretor of LUX and LUX Scotland, the UK agencies for the support and promotion of artists working with the moving image. 

He has been professionally involved in independent film and art for the past 22 years as a producer, curator, archivist, writer and teacher.

Inês Grosso is a Portuguese curator currently based in Porto. She received her BA in Art History from the University of Porto and an MA in Curatorial Studies from the University of Lisbon with the support of the Calouste Gulbenkian Foundation.

From 2011 to 2015, she was part of Instituto Inhotim’s curatorial team, where she was involved in the conception, planning and coordination of collection-based exhibitions, new pavilions, and outdoor pieces. Among others, she co-curated the first large traveling exhibition of the Inhotim Collection, entitled Do objeto ao mundo.

From 2015 to 2021 she was a curator at MAAT- Museum of Art, Architecture and Technology in Lisbon, where she coordinated the institution’s international and public programmes ENUK, and curated several exhibitions such as Yo nunca he sido surrealista hasta el día de hoy by Carlos Garaicoa; Order and Progress by Héctor Zamora; Grada Kilomba’s solo exhibition Secrets to Tell, which also travelled to The Power Plant in Canada; Sanatorium by Pedro Reyes and Programmed Melancholy by Gabriel Abrantes. In September 2021 she joined the Serralves Museum’s team of curators, as chief curator and since then she has curated Rui Chafes large exhibition in the museum and Serralves Park, and Rivane Neuenschwander’s first solo show in Portugal.

She co-curated Allora&Calzadilla’s first retrospective exhibition Entelechy an ambitious presentation occupying the entire left wing and the main Serralves Museum Hall. In addition to her work on exhibitions, Grosso has played a key role in the growth of the MAAT and Serralves collections.

Lori Zippay is a New York-based curator, writer and consultant who has been active in media art exhibition, distribution and preservation for over thirty-five years. From the mid-1980s to 2019 she served as Executive Diretor of Electronic Arts Intermix (EAI), a nonprofit organization that is a leading resource for media art. She developed EAI’s archive of over 4,000 media artworks, initiated its pioneering video preservation program, inaugurated and co-authored its extensive online publications and digital resources, and established numerous long-range projects and artistic programs. She has curated numerous media-based exhibitions and video programs; lectured at institutions and presented at conferences around the world, including at The Museum of Modern Art, New York; Tate Modern, London; and Centre Georges Pompidou, Paris, among many others; written extensively on media art, and developed and consulted on numerous curatorial, preservation and educational projects with emerging and established artists. She has served on numerous international festival juries, funding panels, symposia, and advisory boards. She currently serves on the Advisory Committees of Times Square Arts and Collaborative Cataloging Japan, and as Diretor Emerita of EAI.

Rachel Korman is curatorial and general coordinator at FUSO - International Video Art Festival, in Lisbon and artistic Diretor at FUSO Insular – Video Art Festival, in Azores.
Brazilian of Polish origin, lives and works in São Miguel island, Azores. 
She is graduated in Social Communication (PUC-MG), with a degree in arts from Parque Lage School of Visual Arts, Rio de Janeiro. In 2007 she moved to Lisbon, Portugal where she attended the Advanced Photography Course at Ar.Co and the Independent Study Program on Contemporary Art at Maumaus. 
Cofounded with Paulo Reis (in memory), Carpe Diem Art & Research, a center for residencies, exhibitions and investigation in contemporary art and collaborated with Hangar - Center for Research and Art as communication Diretor and manager of artistic residencies.

Isabel Nogueira (b. 1974) holds a PhD in Fine Arts, specialization in Art Sciences (University of Lisbon) and a post-doctorate in History and Theory of Contemporary Art and Image Theory (Université Paris 1-Panthéon Sorbonne). She is a contemporary art historian and critic, teacher and essayist. She is a professor at the National Society of Fine Arts, integrated researcher at CIEBA / Faculty of Fine Arts / University of Lisbon, member of the International Association of Art Critics (AICA). She is an art critic for the magazine Contemporânea and a contributor to the magazine Recherches en Esthétique. She is editor/Diretor of the academic journal Arte e Cultura Visual (CIEBA / Faculty of Fine Arts / University of Lisbon). Recent books: Theories of art: from modernism to the present (BookBuilders, 2019, 2nd ed. 2020); Zona de Rebentação (BookBuilders, 2020); How can ‘this’ be art? Brief essay on art criticism and judgment of taste (Húmus, 2020); History of art in Portugal: from Marcelismo to the end of the 20th century (BookBuilders, 2021); Art Criticism or the Space Between the Work and the World: Chosen Criticism (Húmus, 2021); Histoire de l’art au Portugal, 1968-2000 (Éditions de l’Harmattan, 2022).

Cultural journalist, music critic and chronicler. He has a background in anthropology and sociology. He lived part of his childhood in Niza, grew up in Barreiro, lives in Lisbon, feels like he is from the Alentejo.</p><p>Over the years, he’s been an actor, a DJ, a social scientist or a teacher. Now he is more into journalism, but does not practice impartiality and neutrality. Rather, he believes in choices, rigor, transparency, exhibiting plurality, analysis, questioning and the possibility, through culture, by mixing subjects, crossing languages, whether politics, economics, society, music, art and ideas.</p><p>He recently released the book Não Dá Para Ficar Parado, where music is the starting point, but only because it includes everything else. He worked for The Público newspaper for more than twenty years.

Jean-François Chougnet

Jean-François Chougnet

Jean-François Chougnet (France) is the artistic Diretor of FUSO and has dedicated his career to cultural policies. He was Managing Diretor of Villette, Paris (2001-2006). In 2005, he was the General Commissioner of the Year of Brazil in France. He directed the Berardo Foundation in Lisbon from 2007 to 2011. In 2011, Jean-François Chougnet became CEO of Marseille-Provence Capital of European Culture 2013. From 2014 to 2022 he was president of the Musée des Civilizations de l’Europe et de la Méditerranée (Mucem), in Marseille, France. Jean-François Chougnet is a curator and consultant on museum projects.

Pascale Cassagnau

Pascale Cassagnau

Pascale Cassagnau has a PhD in Art History, and is an art critic. Since 2008 she has been responsible for the audiovisual and new media collections at the Centre National des Arts Plastiques (National Center for Visual Arts) of the French Ministry of Culture. Her research focuses on new cinematographic practices and their cross-dialogue with contemporary creation. She published, among others : Enquêtes sur le troisième cinéma (Ed. Isthmes), Un Pays Supplémentaire (Ed., École Nationale des Beaux-Arts, Paris), about the role of contemporary creation in the architecture of the media. Intempestif. Indépendant, fragile. Marguerite Duras et le cinéma d’art contemporain, was published by Presses du Réel (2012). She is also the author of essays on Apichatpong Weerasethekul, Peter Handke, Jean-Marie Straub and Danièle Huillet, Chantal Akerman, and Alexander Kluge.

Diagramme Monteiro, an essay about the filmmaker João César Monteiro, written in collaboration with Hugues De Cointet, is to be published in 2023, as well as Stratégies obliques, a dictionary on Bertrand Bonello.

Benjamin Cook

Benjamin Cook

Benjamin Cook is the Founder Diretor of LUX and LUX Scotland, the UK agencies for the support and promotion of artists working with the moving image. 

He has been professionally involved in independent film and art for the past 22 years as a producer, curator, archivist, writer and teacher.

Inês Grosso

Inês Grosso

Inês Grosso is a Portuguese curator currently based in Porto. She received her BA in Art History from the University of Porto and an MA in Curatorial Studies from the University of Lisbon with the support of the Calouste Gulbenkian Foundation.

From 2011 to 2015, she was part of Instituto Inhotim’s curatorial team, where she was involved in the conception, planning and coordination of collection-based exhibitions, new pavilions, and outdoor pieces. Among others, she co-curated the first large traveling exhibition of the Inhotim Collection, entitled Do objeto ao mundo.

From 2015 to 2021 she was a curator at MAAT- Museum of Art, Architecture and Technology in Lisbon, where she coordinated the institution’s international and public programmes ENUK, and curated several exhibitions such as Yo nunca he sido surrealista hasta el día de hoy by Carlos Garaicoa; Order and Progress by Héctor Zamora; Grada Kilomba’s solo exhibition Secrets to Tell, which also travelled to The Power Plant in Canada; Sanatorium by Pedro Reyes and Programmed Melancholy by Gabriel Abrantes. In September 2021 she joined the Serralves Museum’s team of curators, as chief curator and since then she has curated Rui Chafes large exhibition in the museum and Serralves Park, and Rivane Neuenschwander’s first solo show in Portugal.

She co-curated Allora&Calzadilla’s first retrospective exhibition Entelechy an ambitious presentation occupying the entire left wing and the main Serralves Museum Hall. In addition to her work on exhibitions, Grosso has played a key role in the growth of the MAAT and Serralves collections.

Lori Zippay

Lori Zippay

Lori Zippay is a New York-based curator, writer and consultant who has been active in media art exhibition, distribution and preservation for over thirty-five years. From the mid-1980s to 2019 she served as Executive Diretor of Electronic Arts Intermix (EAI), a nonprofit organization that is a leading resource for media art. She developed EAI’s archive of over 4,000 media artworks, initiated its pioneering video preservation program, inaugurated and co-authored its extensive online publications and digital resources, and established numerous long-range projects and artistic programs. She has curated numerous media-based exhibitions and video programs; lectured at institutions and presented at conferences around the world, including at The Museum of Modern Art, New York; Tate Modern, London; and Centre Georges Pompidou, Paris, among many others; written extensively on media art, and developed and consulted on numerous curatorial, preservation and educational projects with emerging and established artists. She has served on numerous international festival juries, funding panels, symposia, and advisory boards. She currently serves on the Advisory Committees of Times Square Arts and Collaborative Cataloging Japan, and as Diretor Emerita of EAI.

Rachel Korman

Rachel Korman

Rachel Korman is curatorial and general coordinator at FUSO - International Video Art Festival, in Lisbon and artistic Diretor at FUSO Insular – Video Art Festival, in Azores.
Brazilian of Polish origin, lives and works in São Miguel island, Azores. 
She is graduated in Social Communication (PUC-MG), with a degree in arts from Parque Lage School of Visual Arts, Rio de Janeiro. In 2007 she moved to Lisbon, Portugal where she attended the Advanced Photography Course at Ar.Co and the Independent Study Program on Contemporary Art at Maumaus. 
Cofounded with Paulo Reis (in memory), Carpe Diem Art & Research, a center for residencies, exhibitions and investigation in contemporary art and collaborated with Hangar - Center for Research and Art as communication Diretor and manager of artistic residencies.

Isabel Nogueira

Isabel Nogueira

Isabel Nogueira (b. 1974) holds a PhD in Fine Arts, specialization in Art Sciences (University of Lisbon) and a post-doctorate in History and Theory of Contemporary Art and Image Theory (Université Paris 1-Panthéon Sorbonne). She is a contemporary art historian and critic, teacher and essayist. She is a professor at the National Society of Fine Arts, integrated researcher at CIEBA / Faculty of Fine Arts / University of Lisbon, member of the International Association of Art Critics (AICA). She is an art critic for the magazine Contemporânea and a contributor to the magazine Recherches en Esthétique. She is editor/Diretor of the academic journal Arte e Cultura Visual (CIEBA / Faculty of Fine Arts / University of Lisbon). Recent books: Theories of art: from modernism to the present (BookBuilders, 2019, 2nd ed. 2020); Zona de Rebentação (BookBuilders, 2020); How can ‘this’ be art? Brief essay on art criticism and judgment of taste (Húmus, 2020); History of art in Portugal: from Marcelismo to the end of the 20th century (BookBuilders, 2021); Art Criticism or the Space Between the Work and the World: Chosen Criticism (Húmus, 2021); Histoire de l’art au Portugal, 1968-2000 (Éditions de l’Harmattan, 2022).

Vitor Belanciano

Vitor Belanciano

Cultural journalist, music critic and chronicler. He has a background in anthropology and sociology. He lived part of his childhood in Niza, grew up in Barreiro, lives in Lisbon, feels like he is from the Alentejo.</p><p>Over the years, he’s been an actor, a DJ, a social scientist or a teacher. Now he is more into journalism, but does not practice impartiality and neutrality. Rather, he believes in choices, rigor, transparency, exhibiting plurality, analysis, questioning and the possibility, through culture, by mixing subjects, crossing languages, whether politics, economics, society, music, art and ideas.</p><p>He recently released the book Não Dá Para Ficar Parado, where music is the starting point, but only because it includes everything else. He worked for The Público newspaper for more than twenty years.