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{{Infobox person |
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| name = Catherine de Zegher |
| name = Catherine de Zegher |
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| image = Catherine de Zegher portrait Photo by Craigie Horsfield.jpg |
| image = Catherine de Zegher portrait Photo by Craigie Horsfield.jpg |
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| caption = Catherine de Zegher portrait |
| caption = Catherine de Zegher portrait |
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| birth_name = Marie-Catherine Alma Gladys de Zegher |
| birth_name = Marie-Catherine Alma Gladys de Zegher |
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| birth_date = {{Birth year and age|1955}} |
| birth_date = {{Birth year and age|1955}} |
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| birth_place = Groningen |
| birth_place = Groningen |
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| nationality = Belgian |
| nationality = Belgian |
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| alma_mater = [[Ghent University|University of Ghent]] |
| alma_mater = [[Ghent University|University of Ghent]] |
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| occupation = Curator and art historian |
| occupation = Curator and art historian |
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'''(Marie-)Catherine de Zegher''' (born [[Groningen]],<ref>{{Cite web | url=http://hildevancanneyt.blogspot.com/2013/10/interview-met-catherine-de-zegher.html |title = Gesprekken met hedendaagse kunstenaars: Interview met Catherine de Zegher}}</ref> April 14, 1955<ref>{{cite book |last1=Pollock |first1=Griselda |title=Generations and Geographies in the Visual Arts: Feminist Readings |date=2005 |publisher=Routledge |isbn=9781134768509 |page=xii |url=https://books.google.com/?id=zvmEAgAAQBAJ&pg=PR12&lpg=PR12&dq=Catherine+de+zegher+born+groningen#v=onepage&q=Catherine%20de%20zegher%20born%20groningen&f=false |language=en}}</ref>) is a [[Belgium|Belgian]] [[curator]], and a modern and contemporary art critic and art historian.<ref>https://www.encyclopedia.com/arts/educational-magazines/de-zegher-m-catherine-1955</ref> She has a degree in History of Art and Archaeology from the [[Ghent University|University of Ghent]].<ref>{{cite web |last1=de Zegher |first1=Marie-Catherine |title=Kantharoi van de Atheense Agora uit de 5e en 4e eeuw vóór Christus : kritische benadering van de argumenten aangewend bij de opbouw van de typologie en de chronologie van de Kantharoi uit de publicatie Agora XII |url=https://lib.ugent.be/en/catalog/rug01:000826148?i=12&q=%22Catherine+De+Zegher%22&search_field=author|date=1977-03-21 }}</ref> De Zegher was the Director of the [[Museum of Fine Arts, Ghent|Ghent Museum of Fine Arts]], [[Ghent]] (Belgium) since 2013, but got suspended<ref name="thebulletin.be">{{Cite web | url=https://www.thebulletin.be/ghent-files-complaint-against-museum-director-case-russian-artworks |title = Ghent files complaint against museum director in case of Russian artworks|date = 2019-01-28}}</ref><ref name="Detijd_2018">{{Cite news|url=https://www.tijd.be/cultuur/expo/catherine-de-zegher-de-geschorste-museumdirectrice/9989967.html|title=Catherine de Zegher: de geschorste museumdirectrice|date=2018-03-08|work=De Tijd|access-date=2018-11-22|language=nl}}</ref><ref name="flanderstoday.eu">{{Cite web | url=http://www.flanderstoday.eu/ghent-files-complaint-against-museum-director-case-russian-artworks |title = Ghent files complaint against museum director in case of Russian artworks | Flanders Today}}</ref> and later fired due to doubts regarding the authenticity regarding the Toporovski collection.<ref name="vrt.be">{{Cite web | url=https://www.vrt.be/vrtnws/nl/2019/02/22/stad-gent-beeindigt-samenwerking-met-catherine-de-zegher-als-dir/ | title=Stad Gent beëindigt samenwerking met Catherine de Zegher als directeur van MSK| date=2019-02-22}}</ref><ref>{{Cite web | url=http://www.avs.be/avsnews/catherine-de-zegher-is-niet-langer-directeur-msk |title = AVS Oost-Vlaamse Televisie - Catherine de Zegher is niet langer directeur MSK}}</ref><ref name="Privacy settings">{{Cite web | url=https://www.demorgen.be/expo/catherine-de-zegher-definitief-opzijgeschoven-als-museumdirectrice-msk-bed73f14/ |title = Privacy settings}}</ref> Since 2014 De Zegher is a member of the [[Royal Flemish Academy of Belgium for Science and the Arts]].<ref>{{Cite web | url=http://www.kvab.be/en/members |title = Members | KVAB}}</ref> She was the artistic director of ''all our relations'', the 18th Biennale of Sydney, Australia (2012) and of ''More Light/Bolshe Seta'', the 5th Moscow Biennale, Russia (2013).<ref>{{Cite web |url=http://5th.moscowbiennale.ru/en/biennale/curatorial_team/zegher.html |title=Catherine de Zegher biography |access-date=2013-10-05 |archive-url=https://web.archive.org/web/20131005011639/http://5th.moscowbiennale.ru/en/biennale/curatorial_team/zegher.html |archive-date=2013-10-05 |url-status=dead }}</ref><ref>[http://thenewcontemporary.com/2013/09/03/moscow-shines-once-more-the-fifth-moscow-biennale-of-contemporary-art/ Kris Kulakova, "Moscow Shines Once More: The Fifth Moscow Biennale Of Contemporary Art"] {{Webarchive|url=https://web.archive.org/web/20131013121517/http://thenewcontemporary.com/2013/09/03/moscow-shines-once-more-the-fifth-moscow-biennale-of-contemporary-art/ |date=2013-10-13 }}, The New Contemporary <</ref><ref>[http://www.artaustralia.com/article.asp?issue_id=213&article_id=414 Rachel Kent, "Catherine de Zegher and the 18th Biennale of Sydney"], ''Art & Australia'', Winter 2012</ref><ref>[http://venicebiennale.australiacouncil.gov.au/venice-biennale-2013/the-curator/catherine-de-zegher-biography/ Venice Biennale.] {{webarchive|url=https://web.archive.org/web/20130906170437/http://venicebiennale.australiacouncil.gov.au/venice-biennale-2013/the-curator/catherine-de-zegher-biography/ |date=2013-09-06 }}</ref> She curated the Australian Pavilion (Simryn Gill: ''Here art grows on trees'') at the 55th Venice Biennale in 2013 and the Belgian Pavilion (Thierry De Cordier) at the 47th Venice Biennale in 1997. In 2017 she received the Oscarla award for her role in the art world.<ref>{{Cite web | url=http://www.focus-wtv.be/nieuws/catherine-de-zegher-uit-kortrijk-krijgt-oscarla | title=Catherine de Zegher uit Kortrijk krijgt Oscarla}}</ref> |
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Her art projects often promote the feminine principle.<ref>{{Cite web | url=https://www.vrt.be/vrtnws/nl/2018/03/07/de-indrukwekkende-internationale-carriere-van-museumdirecteur-ca/ | title=De indrukwekkende internationale carrière van museumdirecteur Catherine de Zegher| date=2018-03-07}}</ref> In the aftermath of the Toporovski scandal she applied for her retirement at the MSK and since May 2020 she is officially retired.<ref>[https://www.standaard.be/cnt/dmf20200525_04971296 Geschorste MSK-directrice met pensioen] standaard.be, 20 mei 2020, article in Dutch</ref><ref>[https://www.standaard.be/cnt/dmf20200525_04971130 Geschorste MSK-directrice met pensioen] standaard.be, Geert Sels, 25 mei 2020, article in Dutch</ref> The investigation regarding the Toporovski collection is still ongoing.<ref>[https://www.hln.be/in-de-buurt/gent/geschorste-directrice-van-msk-met-pensioen~ab533671/ Geschorste directrice van MSK met pensioen] hln.be, Jill Dhondt, 26 mei 2020, article in Dutch</ref> |
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==Exhibitions and publications== |
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{{See also|List of Exhibitions Curated by Catherine de Zegher}} |
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Catherine de Zegher's most recent book is an anthology of collected essays on contemporary [[women artists]] written over 15 years: ''Women's Work Is Never Done''.<ref>{{Cite book | url=http://www.artbook.com/9789490693473.html |title = Women's Work. Is Never Done ARTBOOK | D.A.P. 2015 Catalog AsaMER Books Exhibition Catalogues 9789490693473}}</ref> In 2012, de Zegher curated and edited ''All our relations'' (18th Biennale of Sydney).<ref>[[Women artists]]</ref><ref>[http://www.exhibitionsinternational.org/extra/9789490693473_01.pdf Catherine de Zegher, "Women’s Work. Is Never Done".] {{webarchive|url=https://web.archive.org/web/20131029195500/http://www.exhibitionsinternational.org/extra/9789490693473_01.pdf |date=2013-10-29 }}</ref> De Zegher wrote ''On Line. Drawing Through the Twentieth Century (1910-2010)'' as a curator of an exhibition by that name<ref>{{Cite web | url=http://www.moma.org/visit/calendar/exhibitions/971 |title = On Line: Drawing Through the Twentieth Century}}</ref> at the [[Museum of Modern Art in New York]]. In 2010 she has curated the exhibition ''Alma Matrix: Bracha Ettinger and Ria Verhaeghe''<ref>{{Cite web |url=http://www.fundaciotapies.org/site/spip.php?rubrique953 |title="14 May – 1 August 2010, Alma Matrix. Bracha L. Ettinger and Ria Verhaeghe". |access-date=5 September 2013 |archive-url=https://web.archive.org/web/20180311142457/https://www.fundaciotapies.org/site/spip.php?rubrique953 |archive-date=11 March 2018 |url-status=dead }}</ref> in juxtaposition with ''Eva Hesse. Studioworks'' (2010) at the [[Fundació Antoni Tàpies]] in Barcelona. |
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De Zegher was the director of Exhibitions and Publications at the [[Art Gallery of Ontario]] in Toronto in 2007-09 and the executive director and chief curator of The [[Drawing Center]] in New York in 1999-2006 and Editor of its ''Drawing Papers''. However a 2006 planned art exhibition on Drawing from the American-Vietnam war became controversial, ultimately leading to de Zegher her resignation.<ref name=Léger >{{cite book |vauthors=Léger MJ |title=Culture and Contestation in the New Century |date=2011 |publisher=Intellect Books |isbn=9781841504261 |page=26 |url=https://books.google.com/?id=zhacnmPM2DMC&pg=PA26&lpg=PA26&dq=de+zegher+indefinitely+suspended#v=onepage&q=de%20zegher%20indefinitely%20suspended&f=false |language=en}}</ref> |
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In a press statement it was stated that her resignation was due to her differences in vision with the Center's president, George Negroponte, with De Zegher focusing on exhibitions and Mr. Negroponte on building the center's artist services and on creating studio work space, a well as objections to how much money Ms. de Zegher spent on shows at the Drawing Center.<ref>{{Cite news|url=https://www.nytimes.com/2006/03/18/nyregion/exiled-from-ground-zero-arts-center-loses-leader.html|title=Exiled From Ground Zero, Arts Center Loses Leader|last=Pogrebin|first=Robin|access-date=2018-11-22|language=en}}</ref> This is, however disputed and her resignation was more likely due to the museum not supporting de Zegher in her defence of the critical independence of art.<ref name="Léger" /> |
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She was previously co-founder and director of the Kanaal Art Foundation (Kortrijk, Belgium, 1988-1998) and in 1992 co-curated the large-scale exhibition ''America. Bride of the Sun: 500 years Latin-America and the Low Countries'' at the Royal Museum of Fine Arts in Antwerp.<ref>https://www.ktpress.co.uk/pdf/nparadoxaissue1_Katy-Deepwell_57-67.pdf?</ref> |
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In 1996 de Zegher curated ''Inside the Visible: An Elliptical Traverse of Twentieth-Century Art in, of, and from the Feminine'' at the Institute of Contemporary Art in Boston.<ref>''Inside the Visible''. Edited by Catherine de Zegher. Boston: MIT Press, 1996.</ref> The exhibition was accompanied by a book (MIT Press).<ref>{{Cite book | chapter-url=http://centaur.reading.ac.uk/25991/ |isbn = 9781846318931|title = Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions|pages = 104–119|chapter = Rethinking 'Inside the Visible'|publisher = Liverpool University Press|date = July 2013}}</ref> Her exhibitions accompanied by books and catalogues include: [[Mona Hatoum]]: Beyond the Violence Vortex into the Beauty Vortex (2011); [[Bracha L. Ettinger]]: ''Art as Compassion'' (2011), co-edited with [[Griselda Pollock]];<ref>Catherine de Zegher and Griselda Pollock (eds), ''Art as Compassion. Bracha L. Ettinger''. Ghent: MER. Paper Kunsthalle & Brussels: ASA Publishers, 2011. {{ISBN|978-94-6117-008-8}}</ref> Cristina Iglesias: Deep Fountain (2008); [[Julie Mehretu]]: Drawings (2007);<ref>https://www.worldcat.org/title/julie-mehretu-drawings/oclc/180913064</ref> Freeing the Line (2007);<ref>{{Cite book | url=https://books.google.com/?id=pG-5tgAACAAJ |title = Freeing the Line|isbn = 9780944219072|year = 2006}}</ref> [[Eva Hesse]] Drawing (2006);<ref>de Zegher, Catherine M., ed. ''Eva Hesse Drawing''. NY: The Drawing Center & New Haven: Yale University Press, 2006.</ref> ''Joelle Tuerlinckx: Drawing Inventory'' (2006); ''3 x Abstraction: New Methods of Drawing by [[Hilma af Klint]], [[Emma Kunz]], and [[Agnes Martin]]'' (2005);<ref>de Zegher, Catherine M., and Teicher, Hendel, eds. ''3 X Abstraction''. NY: The Drawing Center & New Haven: Yale University Press, 2005</ref> [[Richard Tuttle]]: ''It’s a Room for 3 People'' (2005); "Ocean Flowers: Impressions from Nature" (2004);[[Giuseppe Penone]]: ''The Imprint of Drawing'' (2004); ''The Stage of Drawing: Gesture and Act. Selected from the Tate Collection'' (2003); ''[[Anna Maria Maiolino]]: A Life Line/Vida Afora'' (2002);<ref>{{Cite web | url=http://www.rochester.edu/in_visible_culture/Issue4-IVC/de_Zegher.html | title=Catherine de Zegher - the Inside is the Outside: The Relational as the (Feminine) Space of the Radical}}</ref> ''Untitled Passages'' by [[Henri Michaux]] (2000); ''The Prinzhorn Collection: Traces upon the Wunderblock'' (2000),<ref>''The Prinzhorn Collection: Traces Upon the Wunderblock''. Drawing Papers, n. 7. NY: The Drawing Center, 2000.</ref> and ''[[Martha Rosler]]: Positions in the Life World,'' 1998. She co-edited with [[Carol Armstrong]] ''Women Artists at the Millennium'' (MIT Press).<ref>''Women Artists at the Millennium''. Cambridge Massachusetts: October Books, MIT Press, 2006. 35–83. {{ISBN|978-0-262-01226-3}}.</ref> |
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In 2014, she was appointed the director of the Ghent Museum of Fine Arts.<ref name="Detijd_2018"/> |
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==Controversy with the Toporovski collection== |
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In Fall 2017 the Museum of Fine Arts in Ghent re-installed its permanent collection and included works by contemporary artists Luc Tuymans, Ria Verhaeghe and Patrick Van Caeckenbergh. The new installation also included a few Russian avantgarde works from the Dieleghem Foundation (Toporovski collection, owned by [[Igor Toporovski]]). In 2018, however, the Toporovski collection was claimed to be doubtful concerning their authenticity by a group of art dealers and some scholars in ''The Art Newspaper'' and ''De Standaard''.<ref>{{Cite web | url=https://www.theartnewspaper.com/news/leading-curators-and-dealers |title = Fake Kandinskys, Malevichs, Jawlenskys? Top curators and dealers accuse Ghent museum of showing dud Russian avant-garde works}}</ref><ref>{{Cite web | url=https://news.artnet.com/exhibitions/experts-say-russian-modernism-show-ghent-museum-highly-questionable-1198757 | title=Experts Say Russian Modernism Show at Ghent Museum is 'Highly Questionable'| date=2018-01-15}}</ref> Due to the problems surrounding the collection, the museum board ordered an audit on the event and de Zegher was suspended pending this process.<ref>{{Cite web | url=https://www.artforum.com/news/director-of-ghent-s-museum-of-fine-arts-suspended-over-controversial-exhibition-74572 |title = Director of Ghent's Museum of Fine Arts Suspended over Controversial Exhibition}}</ref><ref>http://www.standaard.be/cnt/dmf20180307_03396055></ref><ref>{{Cite web | url=https://news.artnet.com/exhibitions/russian-avant-garde-exhibition-closes-expose-1210742 |title = Belgian Museum Removes Show of Disputed Russian Avant-Garde Works After Damning Exposé|date = 2018-01-30}}</ref> Later, several Flemish museum directors critiqued the handling of de Zegher and the MSK.<ref name="vrt kunst">{{Cite web | url=https://www.vrt.be/vrtnws/nl/2018/03/05/omstreden-russische-kunst--museumdirecteurs-distantieren-zich-va/ | title=Omstreden Russische kunst: Museumdirecteurs distantiëren zich van MSK Gent| date=2018-03-05}}</ref><ref>{{Cite web | url=https://www.theartnewspaper.com/news/catherine-de-zegher-faces-the-music | title=Ghent museum director under fire from Flemish museums}}</ref> De Zegher held fast to her claim that they did all the necessary art historical research, but could not produce evidence to this end.<ref name="vrt kunst" /><ref>{{Cite web | url=http://lifestyle.inquirer.net/285131/art-experts-fume-fake-russian-art-belgian-museum/ |title = Art experts fume at 'fake' Russian art in Belgian museum|date = 2018-01-26}}</ref> A former exhibition in France featuring work from the Toporovski's was questioned as well, however in that case the court had ruled the paintings to be real.<ref>{{Cite web | url=https://www.theartnewspaper.com/news/the-story-behind-the-dubious-russian-avant-garde-art-show-in-ghent-museum |title = The Art Newspaper's exposé helps close dubious Russian avant-garde art display in Ghent museum}}</ref> |
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The Flemish Parlement debated in Februari 2018 how to limit the negative effects of this controversy for other Belgian musea.<ref>{{Cite web | url=https://www.vlaamsparlement.be/plenaire-vergaderingen/1231847/verslag/1233085 |title = Verslag plenaire vergadering woensdag 21 februari 2018 14.34u - Vlaams Parlement}}</ref><ref>{{Cite web | url=https://www.artforum.com/news/belgian-police-raid-homes-as-investigation-into-ghent-museum-exhibition-continues-74733 | title=Belgian Police Raid Homes as Investigation into Ghent Museum Exhibition Continues}}</ref> |
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Following these events, several of the employees of the Museum of Fine Arts Ghent formally (anonymously) denounced de Zegher in a letter sent to city officials in late 2018. In the letter, the museum team officially withdrew their confidence in the former director, referring a.o. to her self-righteous attitude while in charge of the museum and her lack of people management skills. The team expressed their unwillingness to collaborate with de Zegher any further, in case she would be allowed to return to the museum.[https://m.knack.be/nieuws/belgie/personeelsleden-zeggen-vertrouwen-op-in-directeur-de-zegher-van-gents-museum-voor-schone-kunsten/article-normal-1415877.html] |
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De Zegher disputes any wrongdoing.<ref>{{Cite web | url=https://www.tijd.be/cultuur/expo/catherine-de-zegher-de-geschorste-museumdirectrice/9989967.html | title=Catherine de Zegher: De geschorste museumdirectrice| date=2018-03-08}}</ref><ref>{{Cite news|url=http://www.standaard.be/cnt/dmf20180307_03395199|title=Raad van bestuur bespreekt positie MSK-directrice De Zegher|last=Sels|first=Geert|work=De Standaard|access-date=2018-11-22|language=nl-BE}}</ref> She and the City of Ghent closed the exhibition a month into the controversy and terminated the contract with the owner so that the works could be returned. The latter stated that an investigation would be conducted to verify the authenticity of the works.<ref>{{Cite web | url=https://www.vrt.be/vrtnws/nl/2018/02/20/museum-voor-schone-kunsten-geeft-toporovski-bruiklenen-terug/ |title = Museum voor Schone Kunsten Gent geeft Russische bruiklenen terug|date = 2018-02-20}}</ref> |
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Currently the matter is in the hands of an investigating judge.<ref>{{Cite web | url=http://www.standaard.be/cnt/dmf20180209_03348328 | title=Commissie voor onderzoek naar Russische kunst in MSK is samengesteld}}</ref> Toporovski claimed that lab research already showed that several of the works are indeed from the proclaimed area and are thus real, however no tangible evidence to this effect has so far been made public.<ref name="moc.media">{{Cite web | url=https://moc.media/en/2483 |title = Catherine de Zegher and Igor Toporovski claim authenticity of allegedly fake art}}</ref><ref name="klara.be">{{Cite web | url=https://klara.be/toporovski-labo-onderzoek-op-helft-russische-werken-uit-msk-gent-bewijst-dat-ze-authentiek-zijn |title = Toporovski: "Labo-onderzoek op helft Russische werken uit MSK Gent bewijst dat ze authentiek zijn"|date = 2018-10-17}}</ref><ref>{{Cite web | url=https://www.vrt.be/vrtnws/nl/2018/10/16/verzamelaar-toporovski-labo-onderzoek-op-12-van-24-russische/ |title = Verzamelaar Toporovski: "Labo-onderzoek op helft Russische werken uit MSK Gent bewijst dat ze authentiek zijn"|date = 2018-10-17}}</ref> |
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After 7 months of her suspension, 63 artists, among museum directors and intellectuals published a letter in support of Catherine de Zegher. Among those to have signed the letter include artists [[Eija-Liisa Ahtila]], [[Luis Camnitzer]], [[Cristina Iglesias]], [[Simryn Gill]], [[Mona Hatoum]], [[Giuseppe Penone]], [[Luc Tuymans]], and [[Cecilia Vicuña]]; art historian [[Benjamin H. D. Buchloh]]; [[Catherine David]], deputy director of the Centre Pompidou in Paris; [[Bartomeu Mari]], director of the National Museum of Modern and Contemporary Art in Seoul; and [[Ann Gallagher]], director of Tate Modern’s British Art collections.<ref>{{Cite web | url=http://www.artnews.com/2018/10/10/open-letter-artists-art-professionals-decry-suspension-director-ghents-museum-fine-arts/ |title = In Open Letter, Artists and Art Professionals Decry Suspension of Director of Ghent's Museum of Fine Arts|date = 2018-10-10}}</ref> The letter reads: |
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"We are appalled to see how one of the preeminent women curators of her generation internationally, a wholly professional and widely acclaimed museum director, has been made the plaything of unscrupulous media and of international speculation in the art of the Russian avantgarde, resulting in a severe media process destroying her work and reputation. Through this letter, we affirm our full support for Catherine de Zegher as museum director and as curator. We challenge the local and national authorities concerned on the important issue of having, keeping, protecting and supporting visionary museum directors in their country, remaining independent in their judgement from the pressure media exert and the correlated hype and sensation, and above all from the growing influence of a certain art market linked with finance and power. We ask them to seriously pay attention to the role art and museums play in our cities, regions and in the society at large, the great principles they represent, and the necessity of having inspirational museum directors and curators to lead the way." <ref>https://www.vrt.be/content/dam/vrtnieuws/bestanden/2018/Open%20brief%20De%20Zegher.pdf</ref> |
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On October 17, 2018 de Zegher organised a press conference during which she stated that several of the works in the show had since been tested in laboratories and were proven to contain materials dating from the period to which they were attributed. She compared her own position to that of artists persecuted in Russian pogroms, and to herserf being an Amazon fighting for art. She also repeated her earlier claim that art-historical research had been undertaken, however she did not present any evidence to this effect, claiming rather that this evidence would be published in a book in 2019.<ref>{{Cite news|url=https://www.nieuwsblad.be/cnt/dmf20181017_03851914|title=Catherine de Zegher: "Er is wetenschappelijk bewijs van echtheid meest bekritiseerde werken"|last=gjs|work=Het Nieuwsblad|access-date=2018-11-22|language=nl-BE}}</ref> During the entire period of the controversy, de Zegher worked closely with reputation manager Ine Mariën (also present at the final press conference). It has been noted that Ine Mariën herself has come under fire for her role in the financial mismanagement of the Ghent Floralies in 2016, during which she charged 340.000 euros of fees for a 'repositioning' exercise originally budgeted at 25.000 euros.<ref>{{Cite web|url=https://www.hln.be/regio/gent/zes-miljoen-euro-floralien-geld-weg~a0078712/?referer=https%3A%2F%2Fwww.google.com%2F|title=Zes miljoen euro Floraliën-geld weg|website=Het Laatste Nieuws|access-date=2019-04-07}}</ref> |
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In October 2018 Toporovski announced that several works were tested for their authenticity and proven to be real. He referred to the publication of a book regarding the controversy.<ref name="klara.be"/><ref>{{Cite web | url=https://www.hart-magazine.be/nl/opinie-catherine-de-zegher-fake-art-or-fake-news#.XId0cy3WCL8 | title=Opinie Catherine de Zegher: Fake art or fake news?}}</ref><ref name="moc.media"/><ref>{{Cite web | url=http://www.theartnewspaper.ru/posts/6229/ |title = Катрин де Зегер рассказала, на чьей она стороне|date = 2018-10-25}}</ref> |
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On November 5 the International Committee for Museums and Collections of Modern Art (CiMAM) issued a statement in support of Catherine de Zegher. The full statement reads: |
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''“In its capacity as the international association for Museums and Collections of Modern and Contemporary art, and as an affiliate of ICOM, CIMAM wishes to register its deep concern at the treatment of Catherine de Zegher in her capacity as Director of the Museum of Fine Arts (MSK) in Ghent. Since January 2018, as part of investigations into the authenticity of a group of Russian modernist works, Ms de Zegher has been subject to a series of accusations that have not been dismissed nor brought to appropriate conclusion. This has caused considerable damage to her reputation as a museum professional and curator of the highest standing internationally. |
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''In expressing its support for Ms de Zegher CIMAM also wishes to defend the principles of integrity and respect for museum professionals globally at a time when museums and their directors are being confronted with pressures from the art market, undue interference from governing bodies, and campaigns based on misinformation''<ref>{{Cite web | url=http://cimam.org |title = CIMAM — International Committee for Museums and Collections of Modern Art - CIMAM}}</ref> |
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=== Litigation and indefinite suspension === |
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Late January 2019 the city of Ghent formally lodged a complaint against de Zegher and the Dieleghem Foundation after strong evidence came to light suggesting documents pertaining to the loan - supposedly dating to 2017 and confiscated by the public prosecutor in early 2018 - had in fact been forged. In reply, de Zegher attempted to sue the alderman of culture for libel, but the plea appeared to be ungrounded.<ref>{{Cite web | url=https://www.demorgen.be/binnenland/stad-gent-en-geschorste-museumdirectrice-de-zegher-klagen-elkaar-aan-b901aac3/?referer=https://www.google.com/ |title = Privacy settings}}</ref><ref>{{Cite web | url=http://www.standaard.be/cnt/dmf20190126_04133206 | title=Advocaat Catherine de Zegher: 'De verklaringen van schepen Souguir zijn lasterlijk'}}</ref><ref name="flanderstoday.eu"/><ref name="thebulletin.be"/><ref name="vrt.be"/> |
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On February 22, 2019 de Zegher was suspended indefinitely as director, based on the findings of the audit that had started in 2018.<ref name="tijd.be">{{Cite web | url=https://www.tijd.be/cultuur/algemeen/catherine-de-zegher-is-niet-langer-museumbaas-in-gent/10100801.html |title = Catherine de Zegher is niet langer museumbaas in Gent|date = 2019-02-22}}</ref><ref name="Privacy settings"/> She will not return to the Museum of Fine Arts, but remains an employee of the Department of Culture.<ref name="tijd.be"/> The city also announced that de Zegher remains subject to ongoing disciplinary proceedings, pending a possible definite dismissal.<ref>{{Cite web | url=http://www.standaard.be/cnt/dmf20190222_04198746 | title=Catherine de Zegher definitief geen museumdirectrice meer van MSK Gent}}</ref> |
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In December 2019 the Belgian newspaper [[De Standaard]] reported that [[Igor Toporovski]] and his wife Olga Toporovski were arrested and kept in provisional detention at the prison of Ghent due to the potential fraud in regard with the Toporovski collection,<ref>{{Cite web | url=https://www.demorgen.be/tv-cultuur/kunstverzamelaars-toporovski-in-de-cel~b66dcd3b/ |title = Kunstverzamelaars Toporovski in de cel|language=nl}}</ref> however they were released with specific conditions awaiting their trial.<ref>[https://www.standaard.be/cnt/dmf20200103_04790720 ''Kunstverzamelaars Toporovski vrij onder voorwaarden''], De Standaard, 3 januari 2020, in Dutch.</ref> |
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==Selected curatorial projects== |
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2017. |
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''From Bosch to Tuymans, A Vivid Narrative,'' reinstallation MSK Gent; |
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''Geta Bratescu: A Studio of One’s Own'', MSK Gent (original concept by Camden Arts Center, London); |
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''Manufactories of caring space-time'' (Creative Europe Project), MSK Gent / FRAC Lorraine, Metz / Foundation Antoni Tapies; |
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''Parastou Forouhar, Written Room'', artwork created in MSK Gent; |
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''EyeWitness: Francisco Goya & Farideh Lashai'' |
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Museum of Fine Arts (MSK), Gent, Belgium / Prado Museum, Madrid / British Museum, London |
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| criminal_charges = |
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2016. |
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''Selma & Sofiane Ouissi'', Creative Europe Project ''The Minor Gesture'' in collaboration with Erin Manning and Nikolaus Gansterer, Museum of Fine Arts (MSK), Gent / FRAC Lorraine, Metz / Fundacio Antoni Tapies, Barcelona; |
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''Simryn Gill, The hemi(cycle) of leaves and paper'', Tekenkabinet; |
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''Gerda Steiner & Jorg Lenzlinger, Metafloristik'' Museum of Fine Arts (MSK), Gent, Belgium; |
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| criminal_penalty = |
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2015. |
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''Raaklijnen / Tangents / Tangentes'' (Pieter Vermeersch, Edith Dekyndt, Maria Laet, Monika Grzymala, Gosia Wlodarczak, Tim Knowles, John Wolseley, Aslan Gaisumov, Sarah Sze) Museum of Fine Arts (MSK), Tekenkabinet, Gent, Belgium; |
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''Micro-art group Gorod Ustinov'', Creative Europe Project, ''Micromuseum Gent'' Museum of Fine Arts (MSK), Gent / Frac Lorraine, Metz / Fundacio Antoni Tapies, Barcelona; |
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''Eija-Liisa Ahtila, On foreign subjects, nature of miracles and possibilities of perception'', Oi Futuro, Rio de Janeiro and Belo Horizonte; |
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''Julia Margaret Cameron'' (in collaboration with the V&A) Museum of Fine Arts (MSK), Gent, Belgium |
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| criminal_status = |
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2014. |
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''Love Letters in War and Peace/Mona Hatoum: Close Quarters'' (November–February 2015); |
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''Katrien Vermeire, Kreislauf'' (single artwork presented in 2014); |
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''Isabel & Alfredo Aquilizan, Lade (Project: Another Country)'' (single artwork created February–May 2014) Museum of Fine Arts (MSK), Gent, Belgium |
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| spouse = |
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2013. '' the Australian Pavilion at the 55th Venice Biennale''. |
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| partner = |
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2013. ''5th Moscow Biennale: More Light/Bolshe Sveta'' |
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| children = |
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2012. ''18th Biennale of Sydney: all our relations''. |
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| parents = |
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2010. ''On Line. Drawing Through the Twentieth Century'', Museum of Modern Art, New York. |
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| mother = |
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2010. ''Alma Matrix: Shared Traces/Trazos en Comun. Bracha Ettinger and Ria Verhaeghe'' |
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(juxtaposed with ''Eva Hesse: Studioworks''). Fundacion Antoni Tàpies Foundation, Barcelona. |
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2006. ''Eva Hesse Drawing''. The Menil Collection, Houston; The Drawing Center, New York; LAMoCA, Los Angeles; Walker Art Center, Minneapolis (The Association of Art Museum Curators AAMC Award for Excellence<ref>https://cdn.ymaws.com/www.artcurators.org/resource/resmgr/docs/aamc_2006_prizes_final.pdf</ref>). |
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| relatives = |
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2006. ''Freeing the Line: [[Gego]], Monika Grzymala, [[Eva Hesse]], Karel Malich, [[Julie Mehretu]], [[Ranjani Shettar]], [[Joelle Tuerlinckx]], [[Richard Tuttle]]''. Marian Goodman Gallery, NY. |
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2006. ''[[Joelle Tuerlinckx]]'s Drawing Inventory''. The Drawing Center, NY. |
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2005. ''Persistent Vestiges: Drawing from the American Vietnam War''. The Drawing Center, New York. |
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| awards = |
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2005. ''3 x Abstraction: New Methods of Drawing by [[Hilma af Klint]], Emma Kunz, and [[Agnes Martin]]'' |
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(Best Show AICA Award 2005), The Drawing Center, New York; Santa Monica Museum, Los Angeles; Kilmainham Museum, Dublin, Ireland. |
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2005. ''[[Richard Tuttle]]: It's a Room for 3 People'', The Drawing Center, New York; The [[Aspen Art Museum]], Aspen, Colorado. |
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2003-2004. "Ocean Flowers: Impressions from Nature". The Drawing Center, New York''[[Giuseppe Penone]]: The Imprint of Drawing''. The Drawing Center, New York; 2004. Milton Keynes Gallery, United Kingdom. |
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2003. ''The Stage of Drawing: Gesture and Act''. Selected from the Tate Collection The Drawing Center, New York, 2003. Museum of Contemporary Art, Sydney, Australia; Tate Liverpool, Liverpool, United Kingdom ; Tate Britain, London, United Kingdom. |
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2002. ''Anna Maria Maiolino: A Life Line/Vida Afora''. The Drawing Center, New York. |
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2001. ''[[Bracha Lichtenberg Ettinger]]: Eurydice Series''. The Drawing Center, New York. |
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| module5 = |
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2001. ''Between Street and Mirror: The Drawings of [[James Ensor]]''. The Drawing Center, New York. |
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2000. ''Untitled Passages by [[Henri Michaux]]'', 2000. The Drawing Center, New York. |
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2000. ''The Prinzhorn Collection: Traces Upon the Wunderblock'' (Best Show AICA Award, 2000-2001). The Drawing Center, New York. |
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1998. ''[[Martha Rosler]]: Positions in the Life World''. Retrospective exhibition co-curated by Elizabeth Macgregor and Sabine Breitwieser and organized by Ikon Gallery, Birmingham, UK, and the Generali Foundation, Vienna, and touring to Museu d'Art Contemporani de Barcelona; Institut d'Art Contemporain, Villeurbanne/Rhône-Alpes; The Generali Foundation, Vienna; Nederlands Foto Instituut, Rotterdam; [[The New Museum]], New York; International Center of Photography, New York. |
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1997. ''[[Thierry de Cordier]]''. Belgian Pavilion, XLVII Biennial of Venice. |
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| footnotes = |
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1997. ''[[Mona Hatoum]], Ann Veronica Janssens, [[Gabriel Orozco]]''. Galerie Micheline Szwajcer, Antwerp. |
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}} |
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1996-1997. ''Inside the Visible. An Elliptical Traverse of 20th Century Art in, of, and from the Feminine''. [[Institute of Contemporary Art, Boston|Institute of Contemporary Art]] ICA Boston; [[National Museum of Women in the Arts]], Washington, DC; [[Whitechapel Gallery]], London; [[Art Gallery of Western Australia]], Perth. |
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'''Catherine de Zegher''' (born Marie-Catherine Alma Gladys de Zegher [[Groningen]],<ref>{{Cite web | url=http://hildevancanneyt.blogspot.com/2013/10/interview-met-catherine-de-zegher.html |title = Gesprekken met hedendaagse kunstenaars: Interview met Catherine de Zegher}}</ref> April 14, 1955<ref>{{cite book |last1=Pollock |first1=Griselda |title=Generations and Geographies in the Visual Arts: Feminist Readings |date=2005 |publisher=Routledge |isbn=9781134768509 |page=xii |url=https://books.google.com/?id=zvmEAgAAQBAJ&pg=PR12&lpg=PR12&dq=Catherine+de+zegher+born+groningen#v=onepage&q=Catherine%20de%20zegher%20born%20groningen&f=false |language=en}}</ref>) is a [[Belgium|Belgian]] [[curator]] and a modern and contemporary art art historian.<ref>https://www.encyclopedia.com/arts/educational-magazines/de-zegher-m-catherine-1955</ref> She has a degree in art history and archaeology from the from the [[Ghent University|University of Ghent]].<ref>{{cite web |last1=de Zegher |first1=Marie-Catherine |title=Kantharoi van de Atheense Agora uit de 5e en 4e eeuw vóór Christus : kritische benadering van de argumenten aangewend bij de opbouw van de typologie en de chronologie van de Kantharoi uit de publicatie Agora XII |url=https://lib.ugent.be/en/catalog/rug01:000826148?i=12&q=%22Catherine+De+Zegher%22&search_field=author|date=1977-03-21 }}</ref> |
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From 1988 to 1998, de Zegher was director of the Kunststichting Kanaal, Kortrijk<ref>{{Cite web|title=Stefaan De Clerk|url=https://www.standaard.be/cnt/gcj16jas1|access-date=2020-11-15|website=De Standaard|language=nl-BE}}</ref><ref>{{Cite web|title=DPG Media Privacy Gate|url=https://myprivacy.dpgmedia.be/consent?siteKey=6OfBU0sZ5RFXpOOK&callbackUrl=https%3a%2f%2fwww.demorgen.be%2fprivacy-wall%2faccept%3fredirectUri%3d%252fnieuws%252fcatherine-de-zegher%257eb5f66896%252f|access-date=2020-11-15|website=myprivacy.dpgmedia.be}}</ref><ref>http://www.liebaertprojects.be/site/wp-content/uploads/2011/03/nieuwsblad98.pdf</ref>, from 1999 to 2006, executive director and chief curator of the [[Drawing Center]], New York, from 2007 to 2009, director of exhibitions and publications of the <nowiki>[[Art Gallery of Ontario]]</nowiki>, Toronto, and from 2013 to 2018, director of the [[Museum of Fine Arts, Ghent|Museum of Fine Arts]], Ghent. |
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De Zegher was curator of the [[Belgian pavilion]] (1997) and the [[Australian pavilion]] (2013), both at the [[Venice Biennale]], as well as the [[Moscow Biennale]] (2013).<ref>{{Cite web|title=Catherine de Zegher biography|url=http://5th.moscowbiennale.ru/en/biennale/curatorial_team/zegher.html|url-status=dead|archive-url=https://web.archive.org/web/20131005011639/http://5th.moscowbiennale.ru/en/biennale/curatorial_team/zegher.html|archive-date=2013-10-05|access-date=2013-10-05}}</ref><ref>[http://thenewcontemporary.com/2013/09/03/moscow-shines-once-more-the-fifth-moscow-biennale-of-contemporary-art/ Kris Kulakova, "Moscow Shines Once More: The Fifth Moscow Biennale Of Contemporary Art"] {{Webarchive|url=https://web.archive.org/web/20131013121517/http://thenewcontemporary.com/2013/09/03/moscow-shines-once-more-the-fifth-moscow-biennale-of-contemporary-art/|date=2013-10-13}}, The New Contemporary <</ref><ref>[http://www.artaustralia.com/article.asp?issue_id=213&article_id=414 Rachel Kent, "Catherine de Zegher and the 18th Biennale of Sydney"], ''Art & Australia'', Winter 2012</ref><ref>[http://venicebiennale.australiacouncil.gov.au/venice-biennale-2013/the-curator/catherine-de-zegher-biography/ Venice Biennale.] {{webarchive|url=https://web.archive.org/web/20130906170437/http://venicebiennale.australiacouncil.gov.au/venice-biennale-2013/the-curator/catherine-de-zegher-biography/|date=2013-09-06}}</ref> She was co-artistic director with [[Gerald McMaster]] of the [[Biennale of Sydney]] (2012). Her curatorial projects have included, ''On Line. Drawing through the Twentieth Century'', [[Museum of Modern Art|Museum of Modern Art (MoMA)]], New York (2010), and ''Inside the Visible. An Elliptical Traverse of 20th Century Art in, of, and From the Feminine'', [[Institute of Contemporary Art, Boston|Institute of Contemporary Art]], Boston (1966); traveled to [[Whitechapel Gallery]], London (1996); [[Art Gallery of Western Australia]], Perth (1997). Having curated more than [[List of exhibitions curated by Catherine de Zegher|eighty museum exhibitions and large-scale perennial exhibitions]], her exhibitions challenge mainstream models of art and art history and often promote the feminine principle.<ref>{{Cite web|date=2018-03-07|title=De indrukwekkende internationale carrière van museumdirecteur Catherine de Zegher|url=https://www.vrt.be/vrtnws/nl/2018/03/07/de-indrukwekkende-internationale-carriere-van-museumdirecteur-ca/}}</ref> |
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For her contribution to curating, de Zegher received the 2010–2011 best show awards from AICA (Award of International Critics)<ref>{{Cite web|last=Staff writer|first=|date=Apr 12, 2012|title=Catherine De Zegher Has Received The 2011 US Art Critics Association (AICA-USA) Award For Best Thematic Museum Show In New York|url=https://www.biennialfoundation.org/2012/04/catherine-de-zegher-has-received-the-2011-us-art-critics-association-aica-usa-award-for-best-thematic-museum-show-in-new-york/|url-status=live|archive-url=|archive-date=|access-date=|website=Biennial Foundation}}</ref> and, in 2017, the OSCARla-award<ref>{{Cite web|title=Catherine de Zegher krijgt OSCARla-prijs|url=https://kortrijk.cdenv.be/lokaal-nieuws/nieuws/catherine-de-zegher-krijgt-oscarla-prijs/|access-date=2020-11-15|website=kortrijk.cdenv.be|language=nl}}</ref><ref>{{Cite web|title=Catherine De Zegher uit Kortrijk krijgt Oscarla|url=https://www.focus-wtv.be/nieuws/catherine-de-zegher-uit-kortrijk-krijgt-oscarla|access-date=2020-11-15|website=Focus en WTV|language=nl}}</ref><ref>{{Cite web|title=Catherine de Zegher uit Kortrijk krijgt Oscarla|url=http://www.focus-wtv.be/nieuws/catherine-de-zegher-uit-kortrijk-krijgt-oscarla}}</ref> for her role in the art world. Since 2014 De Zegher is a member of the [[Royal Flemish Academy of Belgium for Science and the Arts]].<ref>{{Cite web|title=Members {{!}} KVAB|url=https://www.kvab.be/en/members|access-date=2020-11-15|website=www.kvab.be}}</ref> |
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== Career == |
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=== Kanaal Art Foundation, Kortrijk (1988–1998) === |
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De Zegher began her work as an exhibition curator in 1988, when she co-founded (together with [[Stefaan De Clerck]], founding president)<ref>{{Cite web|title=Stefaan De Clerk|url=https://www.standaard.be/cnt/gcj16jas1|access-date=2020-11-15|website=De Standaard|language=nl-BE}}</ref><ref>{{Cite web|title=DPG Media Privacy Gate|url=https://myprivacy.dpgmedia.be/consent?siteKey=6OfBU0sZ5RFXpOOK&callbackUrl=https%3a%2f%2fwww.demorgen.be%2fprivacy-wall%2faccept%3fredirectUri%3d%252fnieuws%252fcatherine-de-zegher%257eb5f66896%252f|access-date=2020-11-15|website=myprivacy.dpgmedia.be}}</ref><ref>http://www.liebaertprojects.be/site/wp-content/uploads/2011/03/nieuwsblad98.pdf</ref> the [[Kanaal Art Foundation]] in Kortrijk.<ref>{{Cite web|title=Alle artikels over "Kanaal Art Foundation" - KW.be|url=https://kw.be/tag/kanaal-art-foundation-659397.html?cookie_check=1605357363|access-date=2020-11-15|website=Site-KW-NL}}</ref> She directed the institution until 1998 and focused on emerging international artists, [[multiculturalism]], and feminist aesthetics<ref>{{Cite web|title=CATHERINE DE ZEGHER|url=https://www.standaard.be/cnt/dmf20130810_003|access-date=2020-11-15|website=De Standaard|language=nl-BE}}</ref><ref>https://www.ktpress.co.uk/pdf/nparadoxaissue1_Katy-Deepwell_57-67.pdf?</ref>, for example, the long-term exhibition project ''Inside the Visible. Begin the Beguine in Flanders''.<ref>{{Cite web|title=Francine Koslow Miller on “Inside the Visible”|url=https://www.artforum.com/print/reviews/199605/inside-the-visible-53716|access-date=2020-11-15|website=www.artforum.com|language=en-US}}</ref><ref>{{Cite web|title=DPG Media Privacy Gate|url=https://myprivacy.dpgmedia.be/consent?siteKey=6OfBU0sZ5RFXpOOK&callbackUrl=https%3a%2f%2fwww.demorgen.be%2fprivacy-wall%2faccept%3fredirectUri%3d%252fnieuws%252fzeven-weken-om-verborgen-schatten-te-bekijken%257eb39e7f79%252f|access-date=2020-11-15|website=myprivacy.dpgmedia.be}}</ref> At first the foundation was located in a textile factory; from 1988, it began organizing exhibitions across Kortrijk, including the historic buildings of the Beguinage. The first exhibitions were by Belgian artist Lili Dujourie (1988–89) and Brazilian artists [[Cildo Meireles]] & [[Tunga]] (1989). Following shows included, among others, Patrick Corillon (1989), [[Tadashi Kawamata]] (1990), Guy Rombouts & Monica Droste (1990), [[Robin Winters]] (1990), [[James Casebere]] & [[Tony Oursler]] (1991–92), [[Waltercio Caldas]] (1991), [[David Lamelas]] (1992), [[Antoni Muntadas]] (1992), [[Ilya Kabakov]] & [[Ulo Sooster]] (1992), Everlyn Nicodemus (1992), [[Gabriel Orozco]] (1993), [[Andrea Robbins and Max Becher]] (1995). |
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=== Drawing Center, New York (1999–06) === |
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From 1999 to 2006, de Zegher served as executive director, chief curator, and editor at [[Drawing Center|The Drawing Center]], New York.<ref>{{Cite web|title=Artforum.com|url=https://www.artforum.com/news/drawing-center-s-executive-director-resigns-10659|access-date=2020-11-15|website=www.artforum.com|language=en-US}}</ref> Under her seven-year leadership, the center presented more than sixty historical and contemporary shows, expanded its archive lecture program, and created a viewing program that invited artists to drawing-based public art projects and performances.<ref>{{Cite web|title=The Drawing Center: Exhibitions|url=https://drawingcenter.org/|access-date=2020-11-15|website=The Drawing Center: Exhibitions}}</ref> From 2003 to 2005, she led negotiations to move The Drawing Center, based in SoHo, to Ground Zero as part of the plans to share a building with a proposed [[International Freedom Center]]. The project was part of the memorial for the victims, and a museum intended to draw attention to battles for freedom throughout history planned in the immediate aftermath of the attacks and [[Collapse of the World Trade Center|destruction of the World Trade Center]].<ref>{{Cite news|last=Pogrebin|first=Robin|date=2006-03-18|title=Exiled From Ground Zero, Arts Center Loses Leader (Published 2006)|language=en-US|work=The New York Times|url=https://www.nytimes.com/2006/03/18/nyregion/exiled-from-ground-zero-arts-center-loses-leader.html|access-date=2020-11-15|issn=0362-4331}}</ref> After a power struggle set off by the The Drawing Center’s move to Ground Zero, de Zegher resigned in March 2006.<ref>{{Cite web|title=Artforum.com|url=https://www.artforum.com/news/drawing-center-s-executive-director-resigns-10659|access-date=2020-11-15|website=www.artforum.com|language=en-US}}</ref><ref>{{Cite news|last=Pogrebin|first=Robin|date=2006-03-18|title=Exiled From Ground Zero, Arts Center Loses Leader (Published 2006)|language=en-US|work=The New York Times|url=https://www.nytimes.com/2006/03/18/nyregion/exiled-from-ground-zero-arts-center-loses-leader.html|access-date=2020-11-15|issn=0362-4331}}</ref> De Zegher’s curatorial projects at the The Drawing Center include ''Eva Hesse Drawing'' jointly curated with Elisabeth Sussman<ref>https://monoskop.org/images/c/c4/Eva_Hesse_Drawing_2006.pdf</ref> and ''Joelle Tuerlinckx's Drawing Inventory''<ref>{{Cite web|title=artnet Magazine - New This Month in U.S. Museums|url=http://www.artnet.com/magazineus/news/ntm/ntm2-1-06.asp|access-date=2020-11-15|website=www.artnet.com}}</ref> both in 2006; ''Persistent Vestiges: Drawing from the American Vietnam War''<ref>{{Cite news|last=Cotter|first=Holland|date=2005-12-09|title=Two Sides' Viewpoints on the War in Vietnam (Published 2005)|language=en-US|work=The New York Times|url=https://www.nytimes.com/2005/12/09/arts/design/two-sides-viewpoints-on-the-war-in-vietnam.html|access-date=2020-11-15|issn=0362-4331}}</ref>, and ''3 x Abstraction: New Methods of Drawing by Hilma af Klint, Emma Kunz, and Agnes Martin''<ref>{{Cite web|title=artnet.com Magazine Features - Mystic Rivers|url=http://www.artnet.com/magazine/features/jsaltz/saltz5-17-05.asp|access-date=2020-11-15|website=www.artnet.com}}</ref>, ''Richard Tuttle: It's a Room for 3 People'' in 2005; ''Ocean Flowers: Impressions from Nature'' with Carol Armstrong (2003-2004); ''Giuseppe Penone: The Imprint of Drawing'' (2004); ''The Stage of Drawing: Gesture and Act. Selected from the Tate Collection'' (2003)<ref>{{Cite web|title=Trove|url=https://trove.nla.gov.au/work/9859366|access-date=2020-11-15|website=trove.nla.gov.au}}</ref>; ''Anna Maria Maiolino: A Life Line/Vida Afora'' (2002)<ref>{{Cite news|last=Smith|first=Roberta|date=2002-02-08|title=ART REVIEW; Dots, Dashes and Doodles In a Multi-Media Ferment (Published 2002)|language=en-US|work=The New York Times|url=https://www.nytimes.com/2002/02/08/arts/art-review-dots-dashes-and-doodles-in-a-multi-media-ferment.html|access-date=2020-11-15|issn=0362-4331}}</ref>; ''Bracha Lichtenberg Ettinger: Eurydice Series'', and ''Between Street and Mirror: The Drawings of James Ensor''<ref>{{Cite journal|last=Levine|first=Sura|date=2002|title=Between Street and Mirror: The Drawings of James Ensor, exhibition and catalogue|url=https://www.19thc-artworldwide.org/spring02/86-spring02/spring02review/184-between-street-and-mirror-the-drawings-of-james-ensor-exhibition-and-catalogue|journal=Nineteenth-Century Art Worldwide|language=en-gb|volume=1|issue=1}}</ref> both in 2001; ''Untitled Passages by Henri Michaux''<ref>{{Cite news|last=Smith|first=Roberta|date=2000-10-27|title=ART REVIEW; An Escape From Words, Into a Sea of Teeming Energy (Published 2000)|language=en-US|work=The New York Times|url=https://www.nytimes.com/2000/10/27/arts/art-review-an-escape-from-words-into-a-sea-of-teeming-energy.html|access-date=2020-11-15|issn=0362-4331}}</ref> co-curated with Florian Rodari and ''The Prinzhorn Collection: Traces Upon the Wunderblock''<ref>{{Cite web|last=Facebook|last2=Twitter|last3=options|first3=Show more sharing|last4=Facebook|last5=Twitter|last6=LinkedIn|last7=Email|last8=URLCopied!|first8=Copy Link|last9=Print|date=2000-07-27|title=Outsider Art|url=https://www.latimes.com/archives/la-xpm-2000-jul-27-ca-59861-story.html|access-date=2020-11-15|website=Los Angeles Times|language=en-US}}</ref> in collaboration with in collaboration with Inge Jadi and Laurent Busine<ref>{{Cite web|title=The Drawing Center|url=https://www.lacan.com/drawcenter.htm|access-date=2020-11-15|website=www.lacan.com}}</ref> both in 2000. |
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=== Art Gallery of Ontario, Toronto (2007–09) === |
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De Zegher served as director of exhibitions and publications at the [[Art Gallery of Ontario]], Toronto (2007-09).<ref>https://www.nieuwsblad.be/cnt/blrto_20130620_004</ref> She joined the museum to oversee the (re)installation of the museum galleries<ref>https://www.e-flux.com/announcements/36358/appoints-catherine-de-zegher-and-gerald-mcmaster-as-artistic-directors/</ref> and created an exhibitions program for the Frank Gehry-designed renovated building.<ref>https://www.cbc.ca/news/entertainment/toronto-s-ago-gets-new-director-for-exhibitions-1.756850</ref> |
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=== Museum of Fine Arts, Ghent (2013–18) === |
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From 2013 to 2018, de Zegher served as director of the [[Museum of Fine Arts, Ghent|Museum voor Schone Kunsten (MSK)]], Ghent.<ref>{{Cite web|title=Catherine de Zegher wordt nieuwe directeur van Museum voor Schone Kunsten Gent|url=https://www.nieuwsblad.be/cnt/blrto_20130620_004|access-date=2020-11-15|website=Het Nieuwsblad|language=nl-BE}}</ref> Her appointment came after uncertainty following the museum's long-term director's death and restoration of the building. Her task included the MSK transformation as a city service into a division of the Autonoom Gemeentebedrijf Kunsten.<ref>{{Cite web|last=Belga|first=Bron:|date=2013-06-20|title=Catherine de Zegher wordt nieuwe directeur van Museum voor Schone Kunsten Gent|url=https://www.knack.be/nieuws/belgie/catherine-de-zegher-wordt-nieuwe-directeur-van-museum-voor-schone-kunsten-gent/article-normal-97996.html|access-date=2020-11-15|website=Site-Knack-NL}}</ref> Her exhibition program attached importance to juxtaposing historical and contemporary art. For example, she connected the historical exhibition<nowiki>''</nowiki>Gericault: Fragments of Compassion<nowiki>''</nowiki> (2014) to the ''Philippinian'' and Australian artist duo Isabel & Alfredo Aquilizan, who installed cardboard boats reminiscent of Gericault's raft, evoking associations with migration and refugees.<ref>{{Cite web|date=2014-03-05|title=Isabel & Alfredeo Aquilizan + Théodore Géricault im MSK Gent|url=http://sabinebvogel.at/medusa-lampedusa-im-msk-gent/|access-date=2020-11-15|website=Sabine B. Vogel}}</ref> De Zegher's said that her program aimed to break down separations in society, of isolated and overlooked women, of marginalized communities, and the separation between historical and contemporary art.<ref>{{Cite web|last=Libre.be|first=La|date=2014-03-10|title=Géricault, la cruauté du quotidien|url=https://www.lalibre.be/culture/arts/gericault-la-cruaute-du-quotidien-531deeea357024dca857caf3|access-date=2020-11-15|website=LaLibre.be|language=fr}}</ref> |
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De Zegher's curatorial projects at the MSK include ''The Ladies of the Barok'' (2018); ''Geta Bratescu: A Studio of One's Own''<ref>{{Cite web|date=2017-06-12|title=Talk: Catherine de Zegher - Geta Brătescu: A Studio of One’s Own|url=http://apparitions.ro/en/2017/06/12/talk-catherine-de-zegher-geta-bratescu-a-studio-of-ones-own/|access-date=2020-11-15|website=Geta Brătescu - Apparitions|language=en-US}}</ref>, ''Parastou Forouhar, Written Room'', ''EyeWitness: Francisco Goya & Farideh Lashai''<ref>{{Cite web|title=Eyewitness {{!}} MSK Gent|url=https://www.mskgent.be/en/exhibitions/eyewitness|access-date=2020-11-15|website=www.mskgent.be|language=en}}</ref>; ''Simryn Gill, The hemi(cycle) of leaves and paper'' (2016)<ref>{{Cite web|title=The (hemi)cycle of leaves and paper {{!}} MSK Gent|url=https://www.mskgent.be/en/exhibitions/hemicycle-leaves-and-paper|access-date=2020-11-15|website=www.mskgent.be|language=en}}</ref>; ''Gerda Steiner & Jorg Lenzlinger, Metafloristiek''<ref>{{Cite web|title=Metafloristiek {{!}} MSK Gent|url=https://www.mskgent.be/nl/tentoonstellingen/metafloristiek|access-date=2020-11-15|website=www.mskgent.be|language=nl}}</ref>, ''Raaklijnen/Tangents/Tangentes'', "Eija-Liisa Ahtila, On foreign subjects, nature of miracles and possibilities of perception, ''Julia Margaret Cameron''<ref>{{Cite web|title=Julia Margaret Cameron {{!}} MSK Gent|url=https://www.mskgent.be/nl/tentoonstellingen/julia-margaret-cameron|access-date=2020-11-15|website=www.mskgent.be|language=nl}}</ref> in 2015; and ''Love Letters in War and Peace/Mona Hatoum: Close Quarters'', ''Katrien Vermeire, Kreislauf''<ref>{{Cite web|date=2014-01-16|title=Zonnewende / Solstice ; MSK Gent ->12/10|url=http://www.quovadisart.be/zonnewende-solstice-msk-gent-1210/|access-date=2020-11-15|website=Quovadisart.be|language=en-GB}}</ref>, ''Isabel & Alfredo Aquilizan, Lade (Project: Another Country)'' in 2014. |
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From 2015 to 2017, de Zegher curated a series of projects in the framework of the European Commission's Creative Europe project ''Manufactories of Caring Space-time''<ref>{{Cite web|title=Manufactories of Caring Space-Time {{!}} MSK Gent|url=https://www.mskgent.be/nl/tentoonstellingen/manufactories-caring-space-time|access-date=2020-11-15|website=www.mskgent.be|language=nl}}</ref>, organized in conjunction with 49 Nord 6 Est - FRAC Lorraine, Metz, and Fundació Antoni Tàpies, Barcelona. The project included artists from Europe's margins (Russia and Tunesia) who reflected on the relational, the collective, and collaborative. It showed, among others, the work of Gorod Ustinov, Erin Manning, and Selma & Sofiane Ouissi. |
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Under her directorship, de Zegher (re)installed the museum's collection ''From Bosch to Tuymans, A Vivid Narrative'' (2017).<ref>{{Cite web|last=Speeten|first=Geert Van der|title=Het MSK vindt zichzelf opnieuw uit|url=https://www.standaard.be/cnt/dmf20171019_03142407|access-date=2020-11-15|website=De Standaard|language=nl-BE}}</ref> Under the banner ''Open Museum'', it includes some juxtapositions of old and contemporary works by artists, such as, Luc Tuymans, Ria Verhaeghe, and Patrick Van Caeckenbergh, to integrate a more in-depth reading of the artworks.<ref>{{Cite web|last=Speeten|first=Geert Van der|title=Het MSK vindt zichzelf opnieuw uit|url=https://www.standaard.be/cnt/dmf20171019_03142407|access-date=2020-11-15|website=De Standaard|language=nl-BE}}</ref> |
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===== Toporovski Collection Controversy ===== |
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See also: [[Igor Toporovski]] and [[Toporovski Collection Controversy]] |
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In 2017, more than 20 pieces of [[Russian avant-garde]] from the Dieleghem Foundation (Toporovski collection, owned by [[Igor Toporovski]]) made a nucleus of an exhibition at the [[Museum of Fine Arts, Ghent|Museum voor Schone Kunsten (MSK)]]. In 2018, however, the Toporovski collection was claimed to be doubtful concerning their authenticity by a group of art dealers and some scholars in ''The Art Newspaper'' and ''De Standaard''.<ref>{{Cite web|title=Fake Kandinskys, Malevichs, Jawlenskys? Top curators and dealers accuse Ghent museum of showing dud Russian avant-garde works|url=https://www.theartnewspaper.com/news/leading-curators-and-dealers}}</ref><ref>{{Cite web|date=2018-01-15|title=Experts Say Russian Modernism Show at Ghent Museum is 'Highly Questionable'|url=https://news.artnet.com/exhibitions/experts-say-russian-modernism-show-ghent-museum-highly-questionable-1198757}}</ref> Due to the problems surrounding the collection, the museum board ordered an audit on the event and de Zegher was suspended pending this process.<ref>{{Cite web|title=Director of Ghent's Museum of Fine Arts Suspended over Controversial Exhibition|url=https://www.artforum.com/news/director-of-ghent-s-museum-of-fine-arts-suspended-over-controversial-exhibition-74572}}</ref><ref>http://www.standaard.be/cnt/dmf20180307_03396055></ref><ref>{{Cite web|date=2018-01-30|title=Belgian Museum Removes Show of Disputed Russian Avant-Garde Works After Damning Exposé|url=https://news.artnet.com/exhibitions/russian-avant-garde-exhibition-closes-expose-1210742}}</ref> De Zegher disputes any wrongdoing.<ref>{{Cite web|date=2018-03-08|title=Catherine de Zegher: De geschorste museumdirectrice|url=https://www.tijd.be/cultuur/expo/catherine-de-zegher-de-geschorste-museumdirectrice/9989967.html}}</ref><ref>{{Cite news|last=Sels|first=Geert|title=Raad van bestuur bespreekt positie MSK-directrice De Zegher|language=nl-BE|work=De Standaard|url=http://www.standaard.be/cnt/dmf20180307_03395199|access-date=2018-11-22}}</ref> She and the City of Ghent closed the exhibition a month into the controversy and terminated the contract with the owner so that the works could be returned. Currently the matter is in the hands of an investigating judge.<ref>{{Cite web|title=Commissie voor onderzoek naar Russische kunst in MSK is samengesteld|url=http://www.standaard.be/cnt/dmf20180209_03348328}}</ref> |
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== Selected curatorial projects == |
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=== ''America, Bride of the Sun'' (1990–92) === |
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In 1990-92, de Zegher, together with art historian Paul Vandenbroeck, curated ''America, Bride of the Sun. 500 Years/Latin America and the Low Countries'', Royal Museum of Fine Arts, Antwerp.<ref>https://www.ktpress.co.uk/pdf/nparadoxaissue1_Katy-Deepwell_57-67.pdf?</ref> This large-scale exhibition focused on Flemish art's influence during the [[Spanish colonization of the Americas|Conquista of Latin America (1492)]]. The show featured work by living artists, including artworks by 23 South American artists, who critically assessed colonization and its social and environmental impact in a post-colonial era.<ref>https://www.ktpress.co.uk/pdf/nparadoxaissue1_Katy-Deepwell_57-67.pdf?</ref> In written interview with [[Benjamin H.D. Buchloh]], de Zegher noted that, ''the exhibition contributed to the opening of the mainstream of contemporary art far beyond Europe and the US, to the intimate and particularities of lives lived in places that for long had been made invisible and overlooked''.<ref>Benjamin H.D. Buchloh and M. Catherine de Zegher, ‘’Ver américa. A written exchange’’, in América. Bride of the sun; 5000 years Latin America and the Low Countries, Royal Museum of Fine Arts, Antwerp, 1992</ref> |
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=== ''Inside the Visible'' (1996-97) === |
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In 1996-97, in response to increasing [[cultural racism]] and [[conservatism]] in the 1990s, de Zegher curated the traveling exhibition "Inside the Visible. An Elliptical Traverse of 20th-Century Art in, of, and from the Feminine", an exhibition that foregrounded women's art practices that separate themselves from the rise of repressive totalitarian systems—in pre-war Europe during the [[1930s]] and [[1940s]], and following the [[May 68]] cultural revolutions.<ref>''Inside the Visible''. Edited by Catherine de Zegher. Boston: MIT Press, 1996.</ref> The exhibition was on view at ICA the Institute of Contemporary Art, Boston, and traveled to the National Museum of Women in the Arts, Washington, DC; Whitechapel Gallery, London; Art Gallery of Western Australia, Perth. For the exhibition, the Zegher received the Best Show AICA Award. The exhibition was accompanied by a book (MIT Press).<ref>{{Cite book|title=Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions|date=July 2013|publisher=Liverpool University Press|isbn=9781846318931|pages=104–119|chapter=Rethinking 'Inside the Visible'|chapter-url=http://centaur.reading.ac.uk/25991/}}</ref> |
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=== ''Freeing the Line'' (2006) === |
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De Zegher's exhibition ''Freeing the Line: Gego, Monika Grzymala, Eva Hesse, Karel Malich, Julie Mehretu, Ranjani Shettar, Joelle Tuerlinckx, Richard Tuttle'', Marian Goodman Gallery, NY (2006) <ref>{{Cite book|url=https://books.google.com/?id=pG-5tgAACAAJ|title=Freeing the Line|year=2006|isbn=9780944219072}}</ref> brought together drawings by artists across generations and cultures. In a review, Holland Cotter wrote in [[The New York Times]] that there was "almost nothing to see when one entered the space." However, the "subtle marks of the drawings translate into conceptions of drawing that taken together is nothing less than groundbreaking in both method and implication."<ref>{{Cite news|last=Cotter|first=Holland|date=2006-07-07|title=Art in Review; Freeing the Line (Published 2006)|language=en-US|work=The New York Times|url=https://www.nytimes.com/2006/07/07/arts/art-in-review-freeing-the-line.html|access-date=2020-11-15|issn=0362-4331}}</ref> |
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=== ''Alma Matrix: Shared Traces/Trazos'' (2010) === |
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The exhibition ''Alma Matrix: Shared Traces/Trazos en Comun. Bracha Ettinger and Ria Verhaeghe'', Fundacion Antoni Tàpies Foundation, Barcelona (2010)<ref>{{Cite web|title="14 May – 1 August 2010, Alma Matrix. Bracha L. Ettinger and Ria Verhaeghe".|url=http://www.fundaciotapies.org/site/spip.php?rubrique953|url-status=dead|archive-url=https://web.archive.org/web/20180311142457/https://www.fundaciotapies.org/site/spip.php?rubrique953|archive-date=11 March 2018|access-date=5 September 2013}}</ref> juxtaposed works by Bracha L. Ettinger with works by Eva Hesse and Ria Verhaeghe. Though emerging from different social and cultural backgrounds, the exhibition demonstrated that these artists' art practices showed striking and significant aesthetic and ethical convergences. These artists' work displayed a shared sense of compassion for the 'Other', reflected in the attention to discarded pictures of unnamed people in newspapers and archival documents. They all share recovery processes and methods of compiling and marking and erasing in their drawings and paintings. At the center of which were the notebooks that each artist has filled over many years, and more importantly, the matrix's use as a model of confluence and trans-subjectivity. |
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=== ''On Line: Drawing Through the Twentieth Century'' (2010–11) === |
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''On Line. Drawing Through the Twentieth Century, Museum of Modern Art'', New York (2010-11). <ref>{{Cite web|title=On Line: Drawing Through the Twentieth Century|url=http://www.moma.org/visit/calendar/exhibitions/971}}</ref> In 2010-11, de Zegher curated, jointly with Connie Butler, ''On Line. Drawing Through the Twentieth Century,'' Museum of Modern Art, New York. The exhibition explored the radical transformation of drawing that began over a century ago and is a vital impulse in art today. Through works by over 100 artists, the exhibition presented a history of drawing. It departed from traditional drawing ideas and its reliance on paper as the medium’s fundamental support. It stated that artists have pushed the drawing into real spaces and expanded drawing to painting, sculpture, photography, film, dance, and performance. |
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== Biennial projects == |
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1994. Bracha L. Ettinger: Oeuvres autistes. Kanaal Art Foundation. |
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[[Nancy Spero]], Kanaal Art Foundation. |
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=== Venice Biennale, Belgian Pavilion (1997) === |
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1993. ''Gabriel Orozco: In Broel-and Brewerytower'' |
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In 1997, Belgian artist [[Thierry De Cordier|Thierry de Cordier]] represented Belgium at the [[Venice Biennale|Venice Biennial]]. Catherine de Zegher curated the exhibition at the [[Belgian pavilion|Belgian Pavilion]]. |
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Broel-towers and Brewery-tower, Kanaal Art Foundation |
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=== Biennale of Sydney (2012) === |
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1990-1992. ''America, Bride of the Sun. 500 Years/Latin America and the Low Countries'' |
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In 2012, de Zegher was a joint artistic director with [[Gerald McMaster]] of the 18th [[Biennale of Sydney]], entitled ''All our relations''. The exhibition championed connectivity, conversation, and compassion as models for being in the world. The project included 101 artists from 42 countries presented throughout several museum locations: [[Art Gallery of New South Wales|Art Gallery of North South Wales]]; [[Museum of Contemporary Art Australia]]; [[Cockatoo Island (New South Wales)|Cockatoo Island]]; Pier 2/3 and [[Carriageworks]]. The exhibition's concept was to conceive of art as a way of activating a 'relational field' in which artists, things, and audiences could interact and create meaning together.<ref>{{Cite web|title=Appoints Catherine de Zegher and Gerald McMaster as Artistic Directors|url=https://www.e-flux.com/announcements/36358/appoints-catherine-de-zegher-and-gerald-mcmaster-as-artistic-directors/|access-date=2020-11-15|website=www.e-flux.com|language=en}}</ref><ref>[http://www.artaustralia.com/article.asp?issue_id=213&article_id=414 Rachel Kent, "Catherine de Zegher and the 18th Biennale of Sydney"], ''Art & Australia'', Winter 2012</ref><ref>[http://venicebiennale.australiacouncil.gov.au/venice-biennale-2013/the-curator/catherine-de-zegher-biography/ Venice Biennale.] {{webarchive|url=https://web.archive.org/web/20130906170437/http://venicebiennale.australiacouncil.gov.au/venice-biennale-2013/the-curator/catherine-de-zegher-biography/|date=2013-09-06}}</ref> |
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Major historical exhibition, including the work of 23 contemporary South-American artists |
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Royal Museum of Fine Arts, Antwerp 2/1/92-5/31/92 |
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=== Venice Biennale, Australian Pavilion (2013) === |
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1992. ''Antoni Muntadas: C.E.E. Project'' |
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In 2013, Australian artist [[Simryn Gill]] represented Australia at the [[55th Venice Biennale|55th Venice Biennial]]. De Zegher curated the [[Australian pavilion|Australian Pavilion]] presenting the work in an exhibition entitled, ''Here art grows on trees''. For the project the roof of the pavilion was removed so nature could take over and fuse with art. |
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Kanaal Production 1991-1992 in each European Community member state, starting with: The Netherlands: Witte de With, Rotterdam 2/22/92-12/31/92; Spain: Federacion Espagnola de Municipios y Provincios, ‘Edge’ 1992; Madrid 4/30-92-5/31/92; Portugal: Fundaçao Serralves, Porto 4/30/92-12/31/92; Great Britain: Broadgate, ‘Edge’ 1992, London 5/13/92-6/15/92; Germany: Staatliche Hochschule für Bildende Künste, Frankfurt 12/1/92-12/21/92; Greece: Institut Français de Thessalonique, Thessalonique 10/24/97; |
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''David Lamelas: When the Sky Low and Heavy'' |
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Royal Museum for Fine Arts, Antwerp; |
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''Ilya Kabakov & Ulo Sooster: Illustration as a Way to Survive'' |
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Royal Academy for Fine Arts, Kortrijk; Ikon Gallery, Birmingham, U.K.; Centre for Contemporary Art, Glasgow |
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=== Moscow Biennale (2013) === |
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1991. |
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In 2013, de Zegher curated the 5th Moscow Biennale, entitled ''More Light/Bolshe Sveta'' at the Manege next to the [[Moscow Kremlin|Kremlin]]. The exhibition included a selection of projects from over 90 artists around the globe. The exhibition was a critical reflection on different space-time structures, both in the context of economic overproduction, ecological disasters, and harmful technologies. At the same time, it considered light not only as necessary to the visual arts but also as a creative force generated between the viewer and the work of art. As is explained and illustrated in the book of the same title, the entire project suggests that this engagement and relation are required for the development of new thinking.<ref>{{Cite web|title=Catherine de Zegher biography|url=http://5th.moscowbiennale.ru/en/biennale/curatorial_team/zegher.html|url-status=dead|archive-url=https://web.archive.org/web/20131005011639/http://5th.moscowbiennale.ru/en/biennale/curatorial_team/zegher.html|archive-date=2013-10-05|access-date=2013-10-05}}</ref><ref>[http://thenewcontemporary.com/2013/09/03/moscow-shines-once-more-the-fifth-moscow-biennale-of-contemporary-art/ Kris Kulakova, "Moscow Shines Once More: The Fifth Moscow Biennale Of Contemporary Art"] {{Webarchive|url=https://web.archive.org/web/20131013121517/http://thenewcontemporary.com/2013/09/03/moscow-shines-once-more-the-fifth-moscow-biennale-of-contemporary-art/|date=2013-10-13}}, The New Contemporary <</ref> |
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''Waltercio Caldas: Drawings and Sculptures'' and ''James Casebere & [[Tony Oursler]]: Station Project'' |
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Kanaal Art Foundation, Kortrijk |
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== Publications == |
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1989. |
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Catherine de Zegher's most recent book is an anthology of collected essays on contemporary [[women artists]] written over 15 years: ''Women's Work Is Never Done''.<ref>{{Cite book | url=http://www.artbook.com/9789490693473.html |title = Women's Work. Is Never Done ARTBOOK | D.A.P. 2015 Catalog AsaMER Books Exhibition Catalogues 9789490693473}}</ref> |
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''Cildo Meireles & Tunga: Through /Lezarts''; |
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''Tadashi Kawamata: Beguinage Project'' |
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Kanaal Art Foundation, Kortrijk; |
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''Lili Dujourie: Ibant oscuri sola sub nocte per umbra'' |
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Bonner Kunstverein, Bonn; Le Magasin, Grenoble, France; Museum Kröller-Müller, Otterlo; Musée d'Art Moderne, Paris |
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==Full list of curatorial projects== |
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For a full list of de Zeghers exhibitions, see {{See also|List of Exhibitions Curated by Catherine de Zegher}} |
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== References == |
== References == |
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{{reflist|2}} |
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==See also== |
==See also== |
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*[[Biennale of Sydney]] |
*[[Biennale of Sydney]] |
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[[Category:1955 births]] |
Revision as of 18:44, 15 November 2020
Catherine de Zegher | |
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Born | Marie-Catherine Alma Gladys de Zegher 1955 (age 68–69) Groningen |
Nationality | Belgian |
Alma mater | University of Ghent |
Occupation(s) | Curator and art historian |
Catherine de Zegher (born Marie-Catherine Alma Gladys de Zegher Groningen,[1] April 14, 1955[2]) is a Belgian curator and a modern and contemporary art art historian.[3] She has a degree in art history and archaeology from the from the University of Ghent.[4]
From 1988 to 1998, de Zegher was director of the Kunststichting Kanaal, Kortrijk[5][6][7], from 1999 to 2006, executive director and chief curator of the Drawing Center, New York, from 2007 to 2009, director of exhibitions and publications of the [[Art Gallery of Ontario]], Toronto, and from 2013 to 2018, director of the Museum of Fine Arts, Ghent.
De Zegher was curator of the Belgian pavilion (1997) and the Australian pavilion (2013), both at the Venice Biennale, as well as the Moscow Biennale (2013).[8][9][10][11] She was co-artistic director with Gerald McMaster of the Biennale of Sydney (2012). Her curatorial projects have included, On Line. Drawing through the Twentieth Century, Museum of Modern Art (MoMA), New York (2010), and Inside the Visible. An Elliptical Traverse of 20th Century Art in, of, and From the Feminine, Institute of Contemporary Art, Boston (1966); traveled to Whitechapel Gallery, London (1996); Art Gallery of Western Australia, Perth (1997). Having curated more than eighty museum exhibitions and large-scale perennial exhibitions, her exhibitions challenge mainstream models of art and art history and often promote the feminine principle.[12]
For her contribution to curating, de Zegher received the 2010–2011 best show awards from AICA (Award of International Critics)[13] and, in 2017, the OSCARla-award[14][15][16] for her role in the art world. Since 2014 De Zegher is a member of the Royal Flemish Academy of Belgium for Science and the Arts.[17]
Career
Kanaal Art Foundation, Kortrijk (1988–1998)
De Zegher began her work as an exhibition curator in 1988, when she co-founded (together with Stefaan De Clerck, founding president)[18][19][20] the Kanaal Art Foundation in Kortrijk.[21] She directed the institution until 1998 and focused on emerging international artists, multiculturalism, and feminist aesthetics[22][23], for example, the long-term exhibition project Inside the Visible. Begin the Beguine in Flanders.[24][25] At first the foundation was located in a textile factory; from 1988, it began organizing exhibitions across Kortrijk, including the historic buildings of the Beguinage. The first exhibitions were by Belgian artist Lili Dujourie (1988–89) and Brazilian artists Cildo Meireles & Tunga (1989). Following shows included, among others, Patrick Corillon (1989), Tadashi Kawamata (1990), Guy Rombouts & Monica Droste (1990), Robin Winters (1990), James Casebere & Tony Oursler (1991–92), Waltercio Caldas (1991), David Lamelas (1992), Antoni Muntadas (1992), Ilya Kabakov & Ulo Sooster (1992), Everlyn Nicodemus (1992), Gabriel Orozco (1993), Andrea Robbins and Max Becher (1995).
Drawing Center, New York (1999–06)
From 1999 to 2006, de Zegher served as executive director, chief curator, and editor at The Drawing Center, New York.[26] Under her seven-year leadership, the center presented more than sixty historical and contemporary shows, expanded its archive lecture program, and created a viewing program that invited artists to drawing-based public art projects and performances.[27] From 2003 to 2005, she led negotiations to move The Drawing Center, based in SoHo, to Ground Zero as part of the plans to share a building with a proposed International Freedom Center. The project was part of the memorial for the victims, and a museum intended to draw attention to battles for freedom throughout history planned in the immediate aftermath of the attacks and destruction of the World Trade Center.[28] After a power struggle set off by the The Drawing Center’s move to Ground Zero, de Zegher resigned in March 2006.[29][30] De Zegher’s curatorial projects at the The Drawing Center include Eva Hesse Drawing jointly curated with Elisabeth Sussman[31] and Joelle Tuerlinckx's Drawing Inventory[32] both in 2006; Persistent Vestiges: Drawing from the American Vietnam War[33], and 3 x Abstraction: New Methods of Drawing by Hilma af Klint, Emma Kunz, and Agnes Martin[34], Richard Tuttle: It's a Room for 3 People in 2005; Ocean Flowers: Impressions from Nature with Carol Armstrong (2003-2004); Giuseppe Penone: The Imprint of Drawing (2004); The Stage of Drawing: Gesture and Act. Selected from the Tate Collection (2003)[35]; Anna Maria Maiolino: A Life Line/Vida Afora (2002)[36]; Bracha Lichtenberg Ettinger: Eurydice Series, and Between Street and Mirror: The Drawings of James Ensor[37] both in 2001; Untitled Passages by Henri Michaux[38] co-curated with Florian Rodari and The Prinzhorn Collection: Traces Upon the Wunderblock[39] in collaboration with in collaboration with Inge Jadi and Laurent Busine[40] both in 2000.
Art Gallery of Ontario, Toronto (2007–09)
De Zegher served as director of exhibitions and publications at the Art Gallery of Ontario, Toronto (2007-09).[41] She joined the museum to oversee the (re)installation of the museum galleries[42] and created an exhibitions program for the Frank Gehry-designed renovated building.[43]
Museum of Fine Arts, Ghent (2013–18)
From 2013 to 2018, de Zegher served as director of the Museum voor Schone Kunsten (MSK), Ghent.[44] Her appointment came after uncertainty following the museum's long-term director's death and restoration of the building. Her task included the MSK transformation as a city service into a division of the Autonoom Gemeentebedrijf Kunsten.[45] Her exhibition program attached importance to juxtaposing historical and contemporary art. For example, she connected the historical exhibition''Gericault: Fragments of Compassion'' (2014) to the Philippinian and Australian artist duo Isabel & Alfredo Aquilizan, who installed cardboard boats reminiscent of Gericault's raft, evoking associations with migration and refugees.[46] De Zegher's said that her program aimed to break down separations in society, of isolated and overlooked women, of marginalized communities, and the separation between historical and contemporary art.[47]
De Zegher's curatorial projects at the MSK include The Ladies of the Barok (2018); Geta Bratescu: A Studio of One's Own[48], Parastou Forouhar, Written Room, EyeWitness: Francisco Goya & Farideh Lashai[49]; Simryn Gill, The hemi(cycle) of leaves and paper (2016)[50]; Gerda Steiner & Jorg Lenzlinger, Metafloristiek[51], Raaklijnen/Tangents/Tangentes, "Eija-Liisa Ahtila, On foreign subjects, nature of miracles and possibilities of perception, Julia Margaret Cameron[52] in 2015; and Love Letters in War and Peace/Mona Hatoum: Close Quarters, Katrien Vermeire, Kreislauf[53], Isabel & Alfredo Aquilizan, Lade (Project: Another Country) in 2014.
From 2015 to 2017, de Zegher curated a series of projects in the framework of the European Commission's Creative Europe project Manufactories of Caring Space-time[54], organized in conjunction with 49 Nord 6 Est - FRAC Lorraine, Metz, and Fundació Antoni Tàpies, Barcelona. The project included artists from Europe's margins (Russia and Tunesia) who reflected on the relational, the collective, and collaborative. It showed, among others, the work of Gorod Ustinov, Erin Manning, and Selma & Sofiane Ouissi.
Under her directorship, de Zegher (re)installed the museum's collection From Bosch to Tuymans, A Vivid Narrative (2017).[55] Under the banner Open Museum, it includes some juxtapositions of old and contemporary works by artists, such as, Luc Tuymans, Ria Verhaeghe, and Patrick Van Caeckenbergh, to integrate a more in-depth reading of the artworks.[56]
Toporovski Collection Controversy
See also: Igor Toporovski and Toporovski Collection Controversy In 2017, more than 20 pieces of Russian avant-garde from the Dieleghem Foundation (Toporovski collection, owned by Igor Toporovski) made a nucleus of an exhibition at the Museum voor Schone Kunsten (MSK). In 2018, however, the Toporovski collection was claimed to be doubtful concerning their authenticity by a group of art dealers and some scholars in The Art Newspaper and De Standaard.[57][58] Due to the problems surrounding the collection, the museum board ordered an audit on the event and de Zegher was suspended pending this process.[59][60][61] De Zegher disputes any wrongdoing.[62][63] She and the City of Ghent closed the exhibition a month into the controversy and terminated the contract with the owner so that the works could be returned. Currently the matter is in the hands of an investigating judge.[64]
Selected curatorial projects
America, Bride of the Sun (1990–92)
In 1990-92, de Zegher, together with art historian Paul Vandenbroeck, curated America, Bride of the Sun. 500 Years/Latin America and the Low Countries, Royal Museum of Fine Arts, Antwerp.[65] This large-scale exhibition focused on Flemish art's influence during the Conquista of Latin America (1492). The show featured work by living artists, including artworks by 23 South American artists, who critically assessed colonization and its social and environmental impact in a post-colonial era.[66] In written interview with Benjamin H.D. Buchloh, de Zegher noted that, the exhibition contributed to the opening of the mainstream of contemporary art far beyond Europe and the US, to the intimate and particularities of lives lived in places that for long had been made invisible and overlooked.[67]
Inside the Visible (1996-97)
In 1996-97, in response to increasing cultural racism and conservatism in the 1990s, de Zegher curated the traveling exhibition "Inside the Visible. An Elliptical Traverse of 20th-Century Art in, of, and from the Feminine", an exhibition that foregrounded women's art practices that separate themselves from the rise of repressive totalitarian systems—in pre-war Europe during the 1930s and 1940s, and following the May 68 cultural revolutions.[68] The exhibition was on view at ICA the Institute of Contemporary Art, Boston, and traveled to the National Museum of Women in the Arts, Washington, DC; Whitechapel Gallery, London; Art Gallery of Western Australia, Perth. For the exhibition, the Zegher received the Best Show AICA Award. The exhibition was accompanied by a book (MIT Press).[69]
Freeing the Line (2006)
De Zegher's exhibition Freeing the Line: Gego, Monika Grzymala, Eva Hesse, Karel Malich, Julie Mehretu, Ranjani Shettar, Joelle Tuerlinckx, Richard Tuttle, Marian Goodman Gallery, NY (2006) [70] brought together drawings by artists across generations and cultures. In a review, Holland Cotter wrote in The New York Times that there was "almost nothing to see when one entered the space." However, the "subtle marks of the drawings translate into conceptions of drawing that taken together is nothing less than groundbreaking in both method and implication."[71]
The exhibition Alma Matrix: Shared Traces/Trazos en Comun. Bracha Ettinger and Ria Verhaeghe, Fundacion Antoni Tàpies Foundation, Barcelona (2010)[72] juxtaposed works by Bracha L. Ettinger with works by Eva Hesse and Ria Verhaeghe. Though emerging from different social and cultural backgrounds, the exhibition demonstrated that these artists' art practices showed striking and significant aesthetic and ethical convergences. These artists' work displayed a shared sense of compassion for the 'Other', reflected in the attention to discarded pictures of unnamed people in newspapers and archival documents. They all share recovery processes and methods of compiling and marking and erasing in their drawings and paintings. At the center of which were the notebooks that each artist has filled over many years, and more importantly, the matrix's use as a model of confluence and trans-subjectivity.
On Line: Drawing Through the Twentieth Century (2010–11)
On Line. Drawing Through the Twentieth Century, Museum of Modern Art, New York (2010-11). [73] In 2010-11, de Zegher curated, jointly with Connie Butler, On Line. Drawing Through the Twentieth Century, Museum of Modern Art, New York. The exhibition explored the radical transformation of drawing that began over a century ago and is a vital impulse in art today. Through works by over 100 artists, the exhibition presented a history of drawing. It departed from traditional drawing ideas and its reliance on paper as the medium’s fundamental support. It stated that artists have pushed the drawing into real spaces and expanded drawing to painting, sculpture, photography, film, dance, and performance.
Biennial projects
Venice Biennale, Belgian Pavilion (1997)
In 1997, Belgian artist Thierry de Cordier represented Belgium at the Venice Biennial. Catherine de Zegher curated the exhibition at the Belgian Pavilion.
Biennale of Sydney (2012)
In 2012, de Zegher was a joint artistic director with Gerald McMaster of the 18th Biennale of Sydney, entitled All our relations. The exhibition championed connectivity, conversation, and compassion as models for being in the world. The project included 101 artists from 42 countries presented throughout several museum locations: Art Gallery of North South Wales; Museum of Contemporary Art Australia; Cockatoo Island; Pier 2/3 and Carriageworks. The exhibition's concept was to conceive of art as a way of activating a 'relational field' in which artists, things, and audiences could interact and create meaning together.[74][75][76]
Venice Biennale, Australian Pavilion (2013)
In 2013, Australian artist Simryn Gill represented Australia at the 55th Venice Biennial. De Zegher curated the Australian Pavilion presenting the work in an exhibition entitled, Here art grows on trees. For the project the roof of the pavilion was removed so nature could take over and fuse with art.
Moscow Biennale (2013)
In 2013, de Zegher curated the 5th Moscow Biennale, entitled More Light/Bolshe Sveta at the Manege next to the Kremlin. The exhibition included a selection of projects from over 90 artists around the globe. The exhibition was a critical reflection on different space-time structures, both in the context of economic overproduction, ecological disasters, and harmful technologies. At the same time, it considered light not only as necessary to the visual arts but also as a creative force generated between the viewer and the work of art. As is explained and illustrated in the book of the same title, the entire project suggests that this engagement and relation are required for the development of new thinking.[77][78]
Publications
Catherine de Zegher's most recent book is an anthology of collected essays on contemporary women artists written over 15 years: Women's Work Is Never Done.[79]
Full list of curatorial projects
For a full list of de Zeghers exhibitions, see
References
- ^ "Gesprekken met hedendaagse kunstenaars: Interview met Catherine de Zegher".
- ^ Pollock, Griselda (2005). Generations and Geographies in the Visual Arts: Feminist Readings. Routledge. p. xii. ISBN 9781134768509.
- ^ https://www.encyclopedia.com/arts/educational-magazines/de-zegher-m-catherine-1955
- ^ de Zegher, Marie-Catherine (1977-03-21). "Kantharoi van de Atheense Agora uit de 5e en 4e eeuw vóór Christus : kritische benadering van de argumenten aangewend bij de opbouw van de typologie en de chronologie van de Kantharoi uit de publicatie Agora XII".
- ^ "Stefaan De Clerk". De Standaard (in Flemish). Retrieved 2020-11-15.
- ^ "DPG Media Privacy Gate". myprivacy.dpgmedia.be. Retrieved 2020-11-15.
- ^ http://www.liebaertprojects.be/site/wp-content/uploads/2011/03/nieuwsblad98.pdf
- ^ "Catherine de Zegher biography". Archived from the original on 2013-10-05. Retrieved 2013-10-05.
- ^ Kris Kulakova, "Moscow Shines Once More: The Fifth Moscow Biennale Of Contemporary Art" Archived 2013-10-13 at the Wayback Machine, The New Contemporary <
- ^ Rachel Kent, "Catherine de Zegher and the 18th Biennale of Sydney", Art & Australia, Winter 2012
- ^ Venice Biennale. Archived 2013-09-06 at the Wayback Machine
- ^ "De indrukwekkende internationale carrière van museumdirecteur Catherine de Zegher". 2018-03-07.
- ^ Staff writer (Apr 12, 2012). "Catherine De Zegher Has Received The 2011 US Art Critics Association (AICA-USA) Award For Best Thematic Museum Show In New York". Biennial Foundation.
{{cite web}}
: CS1 maint: url-status (link) - ^ "Catherine de Zegher krijgt OSCARla-prijs". kortrijk.cdenv.be (in Dutch). Retrieved 2020-11-15.
- ^ "Catherine De Zegher uit Kortrijk krijgt Oscarla". Focus en WTV (in Dutch). Retrieved 2020-11-15.
- ^ "Catherine de Zegher uit Kortrijk krijgt Oscarla".
- ^ "Members | KVAB". www.kvab.be. Retrieved 2020-11-15.
- ^ "Stefaan De Clerk". De Standaard (in Flemish). Retrieved 2020-11-15.
- ^ "DPG Media Privacy Gate". myprivacy.dpgmedia.be. Retrieved 2020-11-15.
- ^ http://www.liebaertprojects.be/site/wp-content/uploads/2011/03/nieuwsblad98.pdf
- ^ "Alle artikels over "Kanaal Art Foundation" - KW.be". Site-KW-NL. Retrieved 2020-11-15.
- ^ "CATHERINE DE ZEGHER". De Standaard (in Flemish). Retrieved 2020-11-15.
- ^ https://www.ktpress.co.uk/pdf/nparadoxaissue1_Katy-Deepwell_57-67.pdf?
- ^ "Francine Koslow Miller on "Inside the Visible"". www.artforum.com. Retrieved 2020-11-15.
- ^ "DPG Media Privacy Gate". myprivacy.dpgmedia.be. Retrieved 2020-11-15.
- ^ "Artforum.com". www.artforum.com. Retrieved 2020-11-15.
- ^ "The Drawing Center: Exhibitions". The Drawing Center: Exhibitions. Retrieved 2020-11-15.
- ^ Pogrebin, Robin (2006-03-18). "Exiled From Ground Zero, Arts Center Loses Leader (Published 2006)". The New York Times. ISSN 0362-4331. Retrieved 2020-11-15.
- ^ "Artforum.com". www.artforum.com. Retrieved 2020-11-15.
- ^ Pogrebin, Robin (2006-03-18). "Exiled From Ground Zero, Arts Center Loses Leader (Published 2006)". The New York Times. ISSN 0362-4331. Retrieved 2020-11-15.
- ^ https://monoskop.org/images/c/c4/Eva_Hesse_Drawing_2006.pdf
- ^ "artnet Magazine - New This Month in U.S. Museums". www.artnet.com. Retrieved 2020-11-15.
- ^ Cotter, Holland (2005-12-09). "Two Sides' Viewpoints on the War in Vietnam (Published 2005)". The New York Times. ISSN 0362-4331. Retrieved 2020-11-15.
- ^ "artnet.com Magazine Features - Mystic Rivers". www.artnet.com. Retrieved 2020-11-15.
- ^ "Trove". trove.nla.gov.au. Retrieved 2020-11-15.
- ^ Smith, Roberta (2002-02-08). "ART REVIEW; Dots, Dashes and Doodles In a Multi-Media Ferment (Published 2002)". The New York Times. ISSN 0362-4331. Retrieved 2020-11-15.
- ^ Levine, Sura (2002). "Between Street and Mirror: The Drawings of James Ensor, exhibition and catalogue". Nineteenth-Century Art Worldwide. 1 (1).
- ^ Smith, Roberta (2000-10-27). "ART REVIEW; An Escape From Words, Into a Sea of Teeming Energy (Published 2000)". The New York Times. ISSN 0362-4331. Retrieved 2020-11-15.
- ^ Facebook; Twitter; options, Show more sharing; Facebook; Twitter; LinkedIn; Email; URLCopied!, Copy Link; Print (2000-07-27). "Outsider Art". Los Angeles Times. Retrieved 2020-11-15.
{{cite web}}
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has generic name (help) - ^ "The Drawing Center". www.lacan.com. Retrieved 2020-11-15.
- ^ https://www.nieuwsblad.be/cnt/blrto_20130620_004
- ^ https://www.e-flux.com/announcements/36358/appoints-catherine-de-zegher-and-gerald-mcmaster-as-artistic-directors/
- ^ https://www.cbc.ca/news/entertainment/toronto-s-ago-gets-new-director-for-exhibitions-1.756850
- ^ "Catherine de Zegher wordt nieuwe directeur van Museum voor Schone Kunsten Gent". Het Nieuwsblad (in Flemish). Retrieved 2020-11-15.
- ^ Belga, Bron: (2013-06-20). "Catherine de Zegher wordt nieuwe directeur van Museum voor Schone Kunsten Gent". Site-Knack-NL. Retrieved 2020-11-15.
{{cite web}}
: CS1 maint: extra punctuation (link) - ^ "Isabel & Alfredeo Aquilizan + Théodore Géricault im MSK Gent". Sabine B. Vogel. 2014-03-05. Retrieved 2020-11-15.
- ^ Libre.be, La (2014-03-10). "Géricault, la cruauté du quotidien". LaLibre.be (in French). Retrieved 2020-11-15.
- ^ "Talk: Catherine de Zegher - Geta Brătescu: A Studio of One's Own". Geta Brătescu - Apparitions. 2017-06-12. Retrieved 2020-11-15.
- ^ "Eyewitness | MSK Gent". www.mskgent.be. Retrieved 2020-11-15.
- ^ "The (hemi)cycle of leaves and paper | MSK Gent". www.mskgent.be. Retrieved 2020-11-15.
- ^ "Metafloristiek | MSK Gent". www.mskgent.be (in Dutch). Retrieved 2020-11-15.
- ^ "Julia Margaret Cameron | MSK Gent". www.mskgent.be (in Dutch). Retrieved 2020-11-15.
- ^ "Zonnewende / Solstice ; MSK Gent ->12/10". Quovadisart.be. 2014-01-16. Retrieved 2020-11-15.
- ^ "Manufactories of Caring Space-Time | MSK Gent". www.mskgent.be (in Dutch). Retrieved 2020-11-15.
- ^ Speeten, Geert Van der. "Het MSK vindt zichzelf opnieuw uit". De Standaard (in Flemish). Retrieved 2020-11-15.
- ^ Speeten, Geert Van der. "Het MSK vindt zichzelf opnieuw uit". De Standaard (in Flemish). Retrieved 2020-11-15.
- ^ "Fake Kandinskys, Malevichs, Jawlenskys? Top curators and dealers accuse Ghent museum of showing dud Russian avant-garde works".
- ^ "Experts Say Russian Modernism Show at Ghent Museum is 'Highly Questionable'". 2018-01-15.
- ^ "Director of Ghent's Museum of Fine Arts Suspended over Controversial Exhibition".
- ^ http://www.standaard.be/cnt/dmf20180307_03396055>
- ^ "Belgian Museum Removes Show of Disputed Russian Avant-Garde Works After Damning Exposé". 2018-01-30.
- ^ "Catherine de Zegher: De geschorste museumdirectrice". 2018-03-08.
- ^ Sels, Geert. "Raad van bestuur bespreekt positie MSK-directrice De Zegher". De Standaard (in Flemish). Retrieved 2018-11-22.
- ^ "Commissie voor onderzoek naar Russische kunst in MSK is samengesteld".
- ^ https://www.ktpress.co.uk/pdf/nparadoxaissue1_Katy-Deepwell_57-67.pdf?
- ^ https://www.ktpress.co.uk/pdf/nparadoxaissue1_Katy-Deepwell_57-67.pdf?
- ^ Benjamin H.D. Buchloh and M. Catherine de Zegher, ‘’Ver américa. A written exchange’’, in América. Bride of the sun; 5000 years Latin America and the Low Countries, Royal Museum of Fine Arts, Antwerp, 1992
- ^ Inside the Visible. Edited by Catherine de Zegher. Boston: MIT Press, 1996.
- ^ "Rethinking 'Inside the Visible'". Politics in a Glass Case: Feminism, Exhibition Cultures and Curatorial Transgressions. Liverpool University Press. July 2013. pp. 104–119. ISBN 9781846318931.
- ^ Freeing the Line. 2006. ISBN 9780944219072.
- ^ Cotter, Holland (2006-07-07). "Art in Review; Freeing the Line (Published 2006)". The New York Times. ISSN 0362-4331. Retrieved 2020-11-15.
- ^ ""14 May – 1 August 2010, Alma Matrix. Bracha L. Ettinger and Ria Verhaeghe"". Archived from the original on 11 March 2018. Retrieved 5 September 2013.
- ^ "On Line: Drawing Through the Twentieth Century".
- ^ "Appoints Catherine de Zegher and Gerald McMaster as Artistic Directors". www.e-flux.com. Retrieved 2020-11-15.
- ^ Rachel Kent, "Catherine de Zegher and the 18th Biennale of Sydney", Art & Australia, Winter 2012
- ^ Venice Biennale. Archived 2013-09-06 at the Wayback Machine
- ^ "Catherine de Zegher biography". Archived from the original on 2013-10-05. Retrieved 2013-10-05.
- ^ Kris Kulakova, "Moscow Shines Once More: The Fifth Moscow Biennale Of Contemporary Art" Archived 2013-10-13 at the Wayback Machine, The New Contemporary <
- ^ Women's Work. Is Never Done ARTBOOK | D.A.P. 2015 Catalog AsaMER Books Exhibition Catalogues 9789490693473.