He attended university in both Lima and Paris and lived for many years in Berlin. Currently, he lives and works in Lima and New York.  His ink on paper drawings systematically re-examine the ways historical events are represented in printed media. The process, which Bryce describes as ‘mimetic analysis’ involves culling archives for print materials like advertisements, newspaper articles, and propaganda pamphlets in order to faithfully reproduce a selection of these materials, creating his own  ink-on-paper “reconstructions.” Drawing Modern History a survey exhibition of his work was on view in 2011 at the Museo de Arte de Lima (MALI) and traveled to Museo Universitario de Arte Contemporaneo (MUAC), Mexico City and Malba-Colección Costantini, Buenos Aires. His work was included in “Manifesta 4 ”,Frankfurt (2002); “8th International Istanbul Biennial”, (2003); “26th Biennial of SãoPaulo”, (2004); among others.


Franklin Evans creates painting installations with the artist’s studio as his subject. He was born in 1967 in Reno, Nevada. He lives and works in New York, NY. He has degrees from Stanford University (BA), University of Iowa (MA and MFA Painting), and Columbia University (MBA). Since 2005, he has had twenty solo exhibition in the United States and Europe and numerous group exhibitions at venues, which include, among others: MoMA PS1, New York, NY; Mykonos Biennale, Greece; Venice Biennale, Italy; Federico Luger, Milan, Italy; Ameringer McEnery Yohe, New York, NY; Sue Scott, New York, NY. Awards and grants include: Pollock- Krasner Foundation Grant; NYFA Fellowship Painting; PM Foundation; Tribesice; Yaddo; The Marie Walsh Sharpe Art Foundation Space Program; and LMCC Workspace Program. Evans work is included in the public collections of Orlando Museum of Art, Orlando, FL; El Museo del Barrio, New York, NY; and other prestigious institutions. His catalogue Franklin Evans: juddrules was published by Montserrat College of Art in 2015.


Cecilia Jurado is an artist (C.J. Chueca) and the founder of Y Gallery New York, where the curatorial stance has been consistent in showing critical discourses with poetic undertones. Jurado has curated solo exhibitions of Teresa Margolles, Christoph Draeger, Artemio, Gabriel Acevedo Velarde, Dulce Pinzón, among others at Y Gallery along with various group shows in multiple venues as a guest. Exhibitions curated by Jurado have been reviewed in publications such as ArtForum, Art in America, Art Nexus, Artinfo, among others. She has serve as a lecturer in different occasions as well as a juror traveling abroad many times.

As an artist, whether working in photography or sculpture, C.J. Chueca utilizes the transformative processes of art production, display and reception to reexamine the meaning and aesthetics of the objects, people and places that are normally marginalized or ignored.

She lives between New York and Lima.


Bruno Leitão is a Portuguese curator, living and working between Madrid and Lisbon. He is currently board member and Curatorial Director at Hangar, Centre for Artistic Research in Lisbon. The Hangar project includes an exhibition program, residencies for artists and curators, plus an investigation department that takes advantage of Lisbon as a geographical and geopolitical intersection between northern Europe, Africa and Latin America.

He is a PHD candidate at Universidad Castilla La Mancha (UCLM, Cuenca, Spain).

Before Hangar, Bruno Leitão worked as a curator for Lumiar Cité, the exhibition space of Maumaus, School of Visual Design in Lisbon. At Lumiar Cité he worked with many artists, most noticeably Allan Sekula and Harun Farocki.

Further, he has worked at numerous galleries as director and production director, including Galeria Elba Benitez.

Bruno is the founder and director of the curatorial web-based project, Curatorial Clube ( 

He is invited curator for the Bienal de Vila Franca de Xira 2016 in Portugal and his recent curatorial projects include: “Plagiar o Futuro” co-curated with Andrea Rodriguez Novoa with Edouard Decam, Elena Bajo, João Maria Gusmão e Pedro Paiva, Jordi Colomer, Letícia Ramos, Louidgi Beltrame, Marlon de Azambuja and Rosa Barba at Hangar, 2016.  “Topología del Aura” with Carles Congost, Javier Núñez Gasco, Igor Jesus, Sara e André at Galería Bacelos, Madrid, 2016. “Sem Título” by João Onofre and “Principio Tautológico” with Igor Jesus, Sara e André, Cristina Garrido, Javier Nuñez Gasco, João Paulo Serafim, João Ferro Martins, Daniel Barroca, Paolo Chiasera and Los Torreznos both at the Hangar in Lisbon. “El Buen Caligrama” at Gallery The Goma, Madrid, Spain, 2015; “You love me. You love me not” a group show with the Sindika Dokolo Collection at Galeria Municipal do Porto, Portugal, 2015; “Narrativas Culturales”, at Galería Paula Alonso, Madrid, Spain 2014; “Atelier Utopia”, EDP Foundation Porto, Portugal, 2012; “Contra/cto” at 3+1 Arte Contemporânea, Lisbon, Portugal, 2014.

Besides his curatorial practice, Bruno Leitão is the part of the editorial board of Input Art Magazine and has contributed for a number of magazines and catalogues, including: GAP (curated by Luc Tuymans at Parasol Unit, London), Atlantica, Dardo Magazine and Artecapital, and is IKT Member (International Association of Curators of Contemporary Art.) and CPR host.


Is an independent curator based in London and New York. He is currently a curator at the Solomon R. Guggenheim Museum for the Latin American phase of the Guggenheim UBS MAP Global Art Initiative.

León de la Barra received his Ph.D in Histories and Theories from the Architectural Association School of Architecture in London. He has curated or cocurated exhibitions at several international locations including Apexart, The Architecture Foundation, Art in General, the Centre d’Art Contemporain Genève, Centro Cultural de España, the David Roberts Foundation, the Kunsthalle Zürich, the Luis Barragán House and Studio, and the Museo Tamayo.

In 2012, he was the first recipient of the Colección Patricia Phelps de Cisneros Travel Award for Central America and the Caribbean.


Marta Ramos-Yzquierdo is an art historian from the UCM, Madrid, MA in Cultural Management from Instituto Ortega y Gasset and has a diploma in Corporate Communications from Universidad de los Andes de Santiago de Chile. She started her career in Spain at Fundación Amigos del Museo del Prado and as editor and coordinator of In 2003 she moved to Chile, where she collaborated with MAVI, MAC and Centro Cultural de España. As of 2009 she lives in Brazil where she was the Director of Galeria Baró. Between August 2012 and July 2013 she was appointed director of Pivô, where she was responsible for the initial structuring and launching. Nowadays she is already collaborating with this space invited as a lecturer and jury in several occasions.

 As a researcher, Ramos is part of History in display (WT), a collaborative project with contemporary artists on critical insertion in Brazilian museums. She is also developing the research Artist working, (thinking on) new economies, a report and exhibition about the labor conditions in the contemporary art. This project was presented in the Forum Internacional Artist on the Market / 4th International Workshop do Institut für Kunstwissenschaft und Historische Urbanistik der TU Berlin, in November 2015.

 Following these two lines of investigation, Ramos curated Emmathomasteca; Error as a star; and Sublime and Dystopia, Ícaro Lira: General Field, in Brazil; History is written by the victors and Felipe Ehrenberg 67//15 and its public program Visual scores, After, Depois, Según, in Madrid, Spain.

 For the last two years, she carries out Circuitos ArtRio, a curatorial circuit of contemporary narratives, and Applications of the various flow theories, an agenda of meetings among artists and other agents sponsored by Barro Gallery, Buenos Aires, Argentina, with Carlos Amorales and Los Torreznos as guests in the two first editions.

Ramos has written several texts for artists – Fábio Tremonte, Pontogor, Marlon de Azambuja, Bruno Moreschi, Cristina Garrido, Yoshua Okón, José Luis Landet, Mauro Giaconni, Omar Barquet, and Sara&André – and she also writes for the magazine Arte al día, arthishock and


Manuela Ribadaneira is a founder member of the artistic collective Arts No Decorativas SA (Quito, 1998). She is also fundator and co-editor of Drawing Room Confessions, a series of contemporary art notebooks edited in London.

She is particularly interested in symbolic meanings that take with them real territories, imaginary, personal and power territories, and the frontiers that defines them.

She is interested in historical investigation about rituals and ceremonies, and territorial possessions. She is interested particularly in America’s colonizers countries.

Nowadays she Works with the obsessive focus on words like Revolution and Change, an obsessive focus on the loss of meaning of these words in certain actual speeches. The starting point of her investigations are little moments and small acts within the Great History, as sounding boards that allow us to read today’s news.


Eva Ruiz is the founder and director of ARTERNATIV. She has been developing projects in the art world for over 15 years in Spain, Great Britain, Belgium, Mexico and Colombia. In 2005 she founded Space Gallery Villanueva in Madrid, which in 2009 was renamed EVA RUIZ Gallery. There she specialised in promoting and managing the careers of emerging artist. Soon after she drove the relocation of some of Madrid’s most avant garde galleries to Calle Doctor Fourquet, a neighbourhood which has since become a point of reference in the Spanish art scene. In 2012, while attending contemporary art fairs and events throught the world, she began to actively promote and lead tours of private collections around Europe. Since 2013, she has been collaborating with ARCOmadrid as the Collector Liaison in charge of advising international collectors interested in acquiring works at the fair.

Eva currently curates public and private exhibitions. She recently created Madrid’s City Art Projects (CAP), which each year takes galleries, artists and collectors from one city to another to explore a different architectural and artistic context.

In 2015 she founded ARTERNATIV, a company which provides an array of services from cultural management, both private and public, to planification and implementation of marketing strategies to financial consulting. It also acts as a laboratory for creating alternative art projects. Clients include international galleries, emerging and established artists, collectors and fairs such as ARTBO (Colombia), arteBA (Argentina), ARTLIMA (Perú), CROSSROADS (Reino Unido) and the videoart festival PROYECTOR.


Aura Seikkula is a curator and researcher based in Stockholm. With her own international art agency Agency Auteur, Seikkula provides for the variety of artistic practices. Her extensive international practice comprises of process, production and theory. Using epistemological analysis as her tool, Seikkula’s recent PhD research in philosophy discusses the social and cultural sustainability of artistic practices from a process perspective. Most recently Seikkula acted as a curator for Artipelag Konsthall as well as Sweden’s biggest artist studio program Studio Mossuställningar in Stockholm and as a guest curator for UNTITLED Art Fair Miami Beach (2014).
Other recent curatorial projects include: Reaching Re-birth, 4th Athens Biennale AGORA (2013); KOPIOITU a residency and exhibition program with Komplot Brussels and SIC Helsinki (2013); the 6th Momentum Biennial Imagine Being Here Now, Moss Norway (2011). Seikkula has worked in curatorial positions at the Künstlerhaus Bethaninen, Berlin; NIFCA Nordic Institute for Contemporary Art and the Finnish Museum of Photography, Helsinki. Additionally, she has acted as guest curator and curatorial advisor in various organizations including CCA, Lagos, Santralistanbul, the European Economic and Social Committee and European Peace Museum. She is the co-founder of SKY Finnish Society for Curators and contributes to various international art publications.


Octavio Zaya is a curator, writer and editor living in the US since 1978. He is Director/Executive Editor of Atlántica. Journal of Art and Thought. a bilingual publication from Centro Atlántico de Arte Moderno, CAAM (Las Palmas,Canary Islands). From 2005 to 2013 he was Curator at Large of MUSAC (Leon, Spain) and since 2010 is Guest Curator at CAAM. He is a member of the Advisory Board of Performa (New York), and is on the Editorial Board of Nka Journal of Contemporary African Art (Duke University); a Contributing Editor of Flash Art, and a contributor to art-agenda/e-flux (New York), Art IT (Tokyo), Arte Al Dia (Miami) and El Pais (Madrid).

He was a curator in Okwui Enwezor’s team at Documenta 11 (Kassel, 1998-2002). He was also a curator at the 1st and 2nd Johannesburg Biennials (1995 and 1997). He has curated more than 30 museum exhibitions worldwide ((including those at Guggenheim Museum, NY, 1996; Reina Sofia, Madrid, 1999 and 2000; Kunstforeningen, Copenhagen, 1997 y 1998, etc.), and he has authored more than 20 books on young and contemporary artists, and contributed to numerous artists’ books and catalogues. In 2013 he was the curator of the Spanish Pavilion at the 55th Biennale di Venezia. He is currently organizing a large retrospective exhibition of the works of Luis Camnitzer for MNCARS, Reina Sofia museum in Madrid, traveling later to other museums in Europe and the Americas. He is also the curator of large selection of the Hochschild Collection for Comunidad de Madrid (2017).