︎︎︎ 2024

︎︎︎ 2023

︎︎︎ 2017-2021
︎︎︎ 2020
︎︎︎ 2019-2020
︎︎︎ 2019
︎︎︎ 2016-2019
︎︎︎ 2016
︎︎︎ 2015
︎︎︎ 2014
︎︎︎ 2012-2013


Histories of Contemporary Art | (semester-long course in the ‘Master 1 Humanités et Industries Créatives’ parcours ‘Image et Création Contemporaine’) CY Cergy Paris Université, Cergy

Histories of Contemporary Art: this course will focus on artistic production from the second half of the 20th century to the present day. Instead of tracing a linear and homogeneous history of contemporary art, we will approach artists and their creations through formal, but also philosophical and social questions linked to their contexts of production and circulation. The aim is to broaden the canonical narrative of art history to include other perspectives and, above all, characters. By the end of the course, students should be able to identify the main features of artistic production in the periods covered, and reflect on the contributions, mechanisms of meaning and impasses (of a selection) of works with which we still contemporary.

Construction and deconstruction of the artist's self image | (two-day workshop for Cécile Vincent-Cassy’s ‘Séminaire de recherche et méthodologie du mémoire’ in the Master 1 Humanités et Industries Créatives’ parcours ‘Image et Création Contemporaine’) CY Cergy Paris Université, Cergy

Construction and deconstruction of the artist's self image: In two sessions, we'll examine the phenomenon in contemporary art, in which artists' works tend to merge more and more with their "personality": "I am, therefore I create". Where does the idea of singularity in artistic expression come from? And what happens when this idea is co-opted by an economic system that seeks to put individuality first? When the image of the artist becomes the model for a narcissistic society, what value can be placed on the notions of imagination, creation and self-construction?

Joint supervision of research projects | (year-long tutoring for Master 1 art students Aloïs Chalopin, Lorena Almario Rojas and Luciano Ortiz) École nationale supérieure d’arts de Paris Cergy, Cergy


Coordination de 3e année | (year-long tutoring for undergraduate art students with Laura Huertas Millan, Eric Maillet and Jean-Luc Verna) École nationale supérieure d’arts de Paris Cergy, Cergy

The story I am writing about in not fiction – It happened in our family | (three-day workshop at the ‘School of Conceptual and Contextual Practices’, run by Carla Zaccagnini) Royal Danish Academy of Fine Arts, Copenhaguen

The story I am writing about in not fiction – It happened in our family: This workshop aims at presenting and discussing a documentarian approach to self-narrative in the arts. We will begin by examining the concept of "documentary art" (CAILLET, POUILLAUDE, 2017), and its accuracy (or lack thereof) in describing the clear regain of interest for archives and documents from the 2000s onwards — what has also been called a "documentary turn" (NASH, 2004). We will then move on to discuss the hypothesis of a "performativity of documents". My current doctoral research — focused on the forgery of papers in my own family —, will serve as a platform for reflecting on how notions of fact, fiction and fake can be applied to personal stories. Finally, participants will be invited to bring sketches of artworks or essays, based on the analysis of a previously chosen family document (image, object, paper or other). By reading our own biographical data through the lenses of an expanded notion of documentary, we will ultimately raise the possibility that artworks function as true "case studies" conducted in the first person.


Histories of Modern and Contemporary Art | (teaching and coordinating a six-monthly course) Museu de Arte de São Paulo

Histories of Modern and Contemporary Art: the course focuses on the artistic production from the second half of the nineteenth century to the present date. Far from exposing a linear and uniform history of art, the purpose here is to approach the artists and their works under the light of a number of questions, formally, but also philosophically and socially relevant to their contexts. This does not mean to subtract art from its specificity within the cultural sphere but, on the contrary, to open its history to other possible perspectives and narratives. We seek here, ideally, that each class can work as a small independent introduction to the history of modern and contemporary art, guided by a specific question, from its origin to its later unfolding. At the end of the course, the student should be able to not only identify the artistic production of the studied periods, but to also understand its motivation, historical mechanisms and difficulties before questions which remain open-ended.


The origin of the museum, criticism and curating & The Image in the place of the work | (short-term courses) Universidade Cândido Mendes, Rio de Janeiro

The origin of the museum, criticism and curating: the course aims to retrace the conceptual and historical origin of the museum, art criticism and curating, in the period comprehended between the end of the eighteenth century and the mid-twentieth century. With this, we intend to suggest that the exhibition, judgement and selection of a work of art can be as important as the creative act which originated it. To analyse such “acts of reception” involves going beyond the private and mythical space of the artist's studio and ask a number of questions which extrapolate the artistic deed, namely: who decides what is and what is not shown in an exhibition? Still, who decides what should or should not go in the history books? In short, it is about critically thinking about the mechanisms, problems and difficulties that are still to this day at the basis of our policies of art legitimisation/ exhibition. But also, along the way, to rediscover the public and open aspect of History of Art. Far from limiting itself to a narrative of individuals trapped in their minds, their works and their homes; this is, in reality, a history open to the public. It is, in a way, a mirror of the history of the very notion of public sphere.


History of Photography: essential writings | (teaching and coordinating a six-monthly course) Ateliê Fotô, São Paulo

History of Photography: essential readings: the course aims to offer the necessary conceptual instruments to a direct confrontation with key-texts from the history of photography. Taking as a basic bibliography the compendium Classic Essays on Photography [Org. Alan Trachtenberg, ed. Orfeu Negro, 2013], we'll be reading in class fundamental texts about two great periods of the practice: namely, its invention and popularization, from the mid-nineteenth century until the turn of the twentieth century; and subsequently, its establishment as an art form, between 1900 and 1950. Amongst the authors in the syllabus are Edgar Allan Poe, Henry Fox Talbot, Charles Baudelaire, Berenice Abbott, Alfred Stieglitz, Laszlo Moholy-Nagy, and many more...


Colégio Humboldt, São Paulo

The social figure of the artist in its different aspects: the objective of this meeting is to offer a bird's eye view of the several roles performed by an artist in Western society, mostly during the nineteenth, twentieth and the beginning of the twenty-first century. Aided by a vast iconographic support, as well as excerpts of selected texts, we will look at how the great societal changes which marked the Modern Age, had a direct impact in the field of Art, by attributing new functions to “creativity". On the other hand, we'll also look at how artists from different times, critically engaged and responded to these transformations, taking upon themselves news attitudes or personas, such as "the vanguard artist, or the chronicler, genius, bohemian, prophet, businessman or worker”.


Photographic destruction and reassemblage in two times; The insignificant image; Everyday Tactics & You press the button, we do the rest | (one month courses) Ateliê Fotô, São Paulo

Photographic deconstruction and reassemblage in two times: thinking Photography beyond the prism of the specific medium, this course aims to show how problems and challenges introduced by photography in the nineteenth century would inform debates and works in the historical vanguards — notably the Russian Constructivism, with its interest marked by the theory of montage. An analysis encompassing the concepts of production, seriality and context will allow, in a second moment, to establish the conditions in which photography seems to reappear in Contemporary Art, in the "hybrid" forms of performance, installation and other practices of conceptual character in the 1960s and 70s.  

The insignificant image: the course aims to propose a renewed reading of the canon text of Roland Barthes, Camera Lucida(1980). Upon identifying his celebrated notion of “punctum” to the figures of personal trauma and collective terror, we seek to examine the grain of nonsense which is contained in every photographic image. To understand the “insignificant” character of the photographic message, as Barthes would say in 1960, is to raise the essential question of photography: the image thought as image, not as language.

You press the button, we do the rest: condemned by Marx as a form of work alienation, and praised by Freud as a metaphor of the unconscious at work, the “machine" is taken in the nineteenth century as something "other" in relation to the human. Starting from Susan Sontag’s essays 'On Photography' (1977), this course intends to retrace the role of this device in the creation of an "other" vision of modernity. By adopting certain strategies of strangeness of the machine, the artists of the twentieth century will get to their most radical experimentations - starting by the Surrealists and their "psychic automatism ".


Museu de Arte de São Paulo

Art Residency São João | (special two-day course and follow-up of residents) as a teacher of Escola de Artes Visuais do Parque Lage, Rio de Janeiro


Escola de Artes Visuais do Parque Lage, Rio de Janeiro

Photography and its ghosts: in his Small History of Photography (1931), Walter Benjamin states that the true matter of photography is not to know whether it would be an art form like any other, but what would become of other art forms after photography. This course aims to think photography beyond the prism of the specific artistic medium, by analysing the three disparate phenomena which converge inside the photographic device: reproduction, index and automatism. In the light of different theories of photography (Benjamin, Barthes, Sontag), and touching the fields of psychoanalysis, linguistics and philosophy, we will observe how these concepts radically transformed the visual arts. In a first glance, in the historical vanguards of the beginning of the twentieth century, particularly the Constructivism, Dadaism and Surrealism; and in the aftermath, their echoes in the “hybrid” formats of Contemporary Art, from the late 1950s to the early 1980s.

Cézanne's Doubt & Brazilian Mythologies (with Thiago Martins Melo) | intensive programme 'EAVerão', Escola de Artes Visuais do Parque Lage, Rio de Janeiro


What is a curator? (one-week intensive course) Espaço Experimental de Arte Belo Horizonte, BRA


What is a curator? ; Art after Philosophy & Cézanne's Doubt | (short courses) Escola de Artes Visuais do Parque Lage, Rio de Janeiro, BRA

Cézanne's Doubt: this course offers the opportunity of a close encounter with the essay “Cézanne's Doubt” (1945), by French philosopher Maurice Merleau-Ponty. In the form of an intimate reading studio, we will progressively introduce the necessary tools to the understanding and criticism of one of the most significant attempts to encompass the reasons of Modern Art. Extensive iconographic material will serve both as a support and conductive element to the collective reading, which will address themes such as the painting of Paul Cézanne and the French post-impressionism, the linear perspective of Italian Renaissance, and furthermore, the philosophical current of Phenomenology.

Art after Philosophy: the course aims to offer the students - artists or otherwise - the necessary tools to understanding and criticising the essay “Art after Philosophy” (1969), by American artist Joseph Kosuth. Preaching categorically - under the auspices of Marcel Duchamp's work — the independence of Art in relation to Aesthetics and the end of the dictates of Modernist art criticism, this Conceptual Art manifesto would become an essential reference for more than a generation of young artists working in the broad field of Contemporary Art. Extensive iconographic material will support the guided reading.

What is a curator?: readdressing the provocative question made by Art historian Claire Bishop in her essay “What is a curator?” (2007), this course aims to analyse the multiple roles undertaken by this professional in Contemporary Art. Throughout the meetings the group will discuss matters of historical and conceptual respect such as: in an ever more dynamic art world, will the curator have taken the place of art critic, as a legitimising instance, or rather, of the own artist, as an author of exhibitions? In the context of post-readymade Art, in which to produce means to reproduce, and to create means to choose, what difference could still exist between installations and art exhibitions?