Dean Daderko is the Curator at the Contemporary Arts Museum Houston (CAMH). His most recent shows include Telepathic Improvisation, a multi-partnered project that marks the first US solo exhibition for the collaborative duo Pauline Boudry / Renate Lorenz, which he co-curated at CAMH with Alhena Katsof; Atlas, Plural, Monumental, a 25-year survey of sculpture, video and photography, drawing and interactive artwork by the inimitable Paul Ramírez Jonas; A Traveling Show, in which individual artworks and the display of a decade-old visual correspondence project between Matt Keegan and Kay Rosen spoke to a long-standing friendship and shared interests in humor and language; and THE INTERVIEW: Red, Red Future – a solo exhibition including commissioned works by the artist MPA that traveled to the Whitney Museum of American Art – in which a live performance and sculptures became vehicles through which to imagine the future of Mars and notions of colonization.
Daderko has commissioned artworks with Claire Fontaine, LaToya Ruby Frazier, Klara Lidén, Fred Moten, Wu Tsang and Haegue Yang, among others. His writing has appeared in Mousse and publications by the Studio Museum in Harlem, the Pérez Art Museum Miami, and the University of California, Irvine. Daderko is currently preparing a multi-generational group exhibition for CAMH focused on artwork by San Antonio-based artists. During his time at Casa Chuck, Daderko will continue working on his selections for this exhibit, as well as curate an exhibition for Sala Diaz.
Claudia Arozqueta is a curator, researcher and writer currently based in Wellington, New Zealand. She completed her undergraduate studies at UNAM in Mexico City before earning her Masters in Media Art Histories from Danube University, Krems, Austria. Claudia is co-founder and co-curator of Modelab (www.modelab.info), an interdisciplinary agora for social and artistic research. From 2011 to 2013, she was Director of Enjoy Public Art Gallery in Wellington, and has curated numerous exhibitions including Surveillance Awareness Bureau, Modelab, Wellington, New Zealand (2015); Was that cannon fire, or is it my heart pounding?, Enjoy Gallery, Wellington, New Zealand (2012); Crossing Boundaries, Winzavod Centre for Contemporary Art, Moscow, Russia (2010); and A Place in Time, Camp Street, San Antonio, Texas (A CAM San Antonio event, 2006). Arozqueta is a regular contributor to Artforum and Art-Agenda, and has published extensively in magazines, newspapers and journals, including Leonardo, Seismopolite, Flash Art, Art Lies and The Moscow Times.
Jennifer Teets is a curator and writer. Her recent work takes the form of scripted scenarios where information, technique, theory and aesthetics transpire in sites of historical and spatial divergence. Recent exhibitions include This place you see has no size at all, Kadist Art Foundation, Paris (2009); A clock that runs on mud, Galeria Stereo, Poznan, (2011); The world is bound in secret knots, Fondazione Giuliani, Rome, (2012); Vinimos a soñar: France Fiction, Museo Experimental El Eco, Mexico City (2012); and Boustrophedonic procession, (w/Darius Mikšys), Objectif Exhibitions, Antwerp (2012/2013). From 2003-2007, she spearheaded the contemporary art program at the Sala de Arte Público Siqueiros (the former house/studio of Mexican Muralist David Alfaro Siqueiros) in Mexico City. Her personal writing relates to her interest in speculative science, philosophy, ecology and ficto-criticism. She has written for numerous publications including Art-Agenda, frieze, Mousse, Novembre, Spike Art Quarterly, NERO, FROG and Metropolis M. In the fall of 2013, she participated in the “Programme of experimentation in arts and politics” (SPEAP) held at SciencesPo, Paris, an initiative of leading French sociologist Bruno Latour. She lives and works in Paris.
Bárbara Perea is a critic and curator. From 2003 to 2006, she was director of MUCA Roma in Mexico City (University Museum of Science and Art) where she curated and organized numerous exhibitions. With Príamo Lozada, she was artistic director of Plataforma Puebla 2006, and co-curator of the Mexican Pavilion at the 52nd Venice Biennial, which presented Some Things Happen More Often Than All of the Time, a solo exhibit by Rafael Lozano-Hemmer (2007). With Guillermo Santamarina she curated Soni(c)loud for the experimental music and sound festival Radar (2007) and prepared the opening exhibition and acquisitions program for Laberinto de las Ciencias y las Artes in San Luis Potosí (2008). She also served on the selection committee for FAIR PLAY Video Festival Berlin (2006) and the nomination committee for the 2008 Rockefeller-Tribeca Media Fellowships.