The first jury for the Preis der Nationalgalerie 2019 consists of directors and curators active in the realm of contemporary art and is selected by Berlin’s Nationalgalerie and Freunde der Nationalgalerie. In addition, two members of the Deutsche Filmakademie are selected as member of the first jury.
The first jury met in February 2019 to select four artists from the candidates of the long list for the short list of the Preis der Nationalgalerie 2019. The short list will be announced on March 1, 2019.
In the summer of 2019, the first jury will convene once again to decide the winner of the Förderpreises für Filmkunst (Award for Cinematography), which will be awarded at the award ceremony in September 2019.
A second jury, consisting of internationally renowned directors and curators of contemporary art, will be announced in May 2019. It will also be selected by the Nationalgalerie together with Freunde der Nationalgalerie.
After the opening of the short list exhibition on August 15, 2019, the second jury will meet to choose the award winner from the four artists nominated: the winner of the Preis der Nationalgalerie 2019 will then be announced at the award ceremony.
For more on the procedure of the Preis der Nationalgalerie here.
On May 9, 2019 the following members of the second jury for the Preis der Nationalgalerie 2019 were announced:
Annie Fletcher is the Director of IMMA, the Irish Museum of Modern Art and is currently working towards the major commeration programme of its 30th anniversary due in 2021. Prior to joining IMMA Annie held various positions including Chief Curator at the Van Abbemuseum, Eindhoven, tutor at de Appel, Amsterdam, the Dutch Art Institute (DAI) and the Design Academy Eindhoven, and has regularly worked with art institutions around the world including the SALT Istanbul, New Museum, New York, and L’Internationale network. In 2012 she was Curator of Ireland’s Contemporary Art biennale EVA International and is regularly called upon to sit on major International juries, including the Turner Prize in 2014 and the selection committee for the Irish Pavilion at Venice in 2016. Fletcher just opened a mid-career survey of the award-winning artist-led collective Otolith Group called Xenogenesis in the Netherlands, this large scale exhibtion will come to IMMA in 2020 and will travel extensively to the US Canada the UK and UAE. Other exhibtions include the midcareer surveys of Qiu Zhijie, Hito Steyerl, Sheela Gowda David Malkjovic all at Van Abbemuseum. She has worked on the Museum of Arte Útil with Tania Bruguera, which opened in the autumn of 2013 at the Van Abbemuseum and developed the award-winning two-year programme Be(com)ing Dutch. She was co-founder and co-director of the rolling curatorial platform If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution with Frederique Bergholtz and Tanja Elstgeest (2005-10). As a writer she has contributed to various magazines including Afterall, Metropolis M and other publications.
Anna-Catharina Gebbers is curator for media and performance art at the Nationalgalerie at Hamburger Bahnhof – Museum für Gegenwart – Berlin, where she was responsible for exhibitions of Anne Imhof (Forever Rage, 2015, and Angst II, 2016) and Julian Rosefeldt (Manifesto, 2016) as well as group exhibitions such as moving is in every direction. Environments – Installationen – Narrative Räume (2017) and the exhibition chapter Making Paradise. Places of Longing from Paul Gauguin to Tita Salina (in collaboration with Grace Samboh and Enin Supriyanto) for Hello World. Revision of a collection (2018). Coming soon: Micro Era. Media art from China (Kulturforum, 2019) and Embodied Histories – Entangled Histories (Hamburger Bahnhof – Museum für Gegenwart – Berlin, MAIIAM, Chiang Mai, Galeri Nasional Indonesia, Jakarta, 2019-2021 co-curated with Gridthiya Gaweewong, Grace Samboh, Siuli Tan, June Yap). Previous exhibitions include Christoph Schlingensief’s retrospective (KW Institut für zeitgenössische Kunst, Berlin and MoMA PS1, New York, together with Klaus Biesenbach and Susanne Pfeffer, 2013-14) as well as exhibitions with artists such as Kader Attia, Felix Gonzales-Torres, Thomas Schütte, Santiago Sierra, Milica Tomić. Gebbers is also an editor at polar – Politik, Theorie, Alltag.
Udo Kittelmann has been the director of Nationalgalerie – Staatliche Museen zu Berlin since 2008. In his many years as curator and director, his work has been shaped, in addition to institutionally defined approaches to art, by the determination to consistently call into question the practice of curating. This process has not been confined to aesthetic dimensions, but is twinned with an awareness of specific sociopolitical contexts. His recent projects included Anne Imhof’s Angst II (2016) and Adrian Piper’s The Probable Trust Registry. The Rules of the Game #1‒3 (2017), both Hamburger Bahnhof – Museum für Gegenwart – Berlin, George Condo. Confrontation (2016), Museum Berggruen – Staatliche Museen zu Berli, The Boat Is Leaking. The Captain Lied (2017), with Alexander Kluge, Thomas Demand, and Anna Viebrock, Fondazione Prada, Venice, as well as Hello World. Revising a Collection (2018), Flying Steps & OSGEMEOS Interpret Mussorgsky’s “Pictures at an Exhibition” (2019), and Andreas Mühe. Mischpoche (2019), Hamburger Bahnhof – Museum für Gegenwart – Berlin.
Philippe Vergne is Director of Serralves Museum of Contemporary Art, Porto. He was director of The Museum of Contemporary Art, Los Angeles (MOCA) from March 2014 to September 2018. Prior to his appointment at MOCA, Vergne served for five years as director of the Dia Art Foundation, New York. Prior to leading the Dia Foundation, Vergne held leadership roles as Deputy Director and Chief Curator at the Walker Art Center in Minneapolis, where he worked for over a decade organizing more than 25 international exhibitions as well as artist residencies and the Herzog & de Meuron facility expansion; and as Director of the Musée d’art Contemporain (MAC) in Marseille, France. Since 1992 Vergne has organized and curated monographic, group and thematic exhibitions at major institutions around the world including, among others for Carl André, Yves Klein, Huang Yong Ping and Kara Walker and in 2006, Vergne co-curated the Whitney Biennial with Chrissie Iles. Vergne has edited and contributed essays to numerous books and catalogues, and has written for major art magazines. In 2014, Vergne was awarded the Légion d’honneur in recognition of his 24 years of service to the arts. Vergne was also named chevalier de l’ordre des Arts et des Lettres by the French Government in 2004.
Theodora Vischer has been a curator of collections and exhibitions since 1992 and is a member of several expert committees. From 2001 to 2010 she was the founding Director of the Schaulager in Münchenstein/Basel. Starting in 2011 she has been Senior Curator at the Fondation Beyeler in Basel. Since the 1990s Vischer has curated exhibitions with artists such as Tacita Dean, Robert Gober, Elizabeth Peyton, Dieter Roth or Andrea Zittel, and in recent years with Marlene Dumas, Wolfgang Tillmans, Roni Horn and Tino Sehgal. She is the editor and author of numerous publications.
Nikola Dietrich is an art historian and curator, and since recently appointed director of Kölnischer Kunstverein, Cologne. She was head curator at the Museum of Contemporary Art in Basel from 2008-2013, where she curated survey exhibitions of Henrik Olesen, Hilary Llyod, Rodney Graham, Monica Bonvicini / Tom Burr, Tim Rollins & K.O.S., Robert Gober, as well as the exhibition Tell it to my heart. Collected by Julie Ault, among many others. She was curator at Portikus in Frankfurt from 2004-2007, where she realized a large number of exhibitions accompanied by publications, among them projects with Francis Alys, John Baldessari, Judith Hopf, Paulina Olowska and Bonnie Camplin.
Since 2014 she is also co-editor of Starship Magazine, published in Berlin.
Doris Dörrie is a writer and filmmaker. After studies in California and New York, the native Hanoverian studied at the Hochschule für Fernsehen und Film in Munich (HFF Munich) from 1975 to 1978. Her breakthrough as a director came in 1985 with the cinema surprise Männer. Since then she has produced numerous other cinema, theatre and opera works, including Bin ich schön? (1998), Nackt (2002), Kirschblüten – Hanami (2008), Mozart’s Don Giovanni at the Hamburg State Opera (2011) and currently Kirschblüten und Dämonen (2019). In addition to her work as a director, Dörrie has been teaching as a professor at the HFF Munich since 1997, as head of the chair of Creative Writing since 2009, and is the author of numerous novels and stories. Her 23 book publications to date include the children’s book series Lotte and Mimi and, most recently, the youth novel In einem fremden Wald (2017). Among many other awards, Doris Dörrie has received the German Film Prize (1986, among others), the Bavarian Film Prize (1998, among others), the Grimme Prize (2011) and the Federal Cross of Merit (1996).
Marina Fokidis is a curator, writer and director of South as a State of Mind journal. She is the founder of South as a State of Mind, a bi-annual art and culture magazine launched in 2012, and Kunsthalle Athens, of which she is also the artistic director. Fokidis has headed the artistic office of documenta 14 in Athens and has served as curatorial advisor to documenta 14 in Athens since 2015. She was co-curator of the third Thessaloniki Biennale for Contemporary Art (2011), curator of the Greek Pavilion at the 51st Venice Biennale (2003) and co-curator of the first Tirana Biennale (2001). In addition to her curatorial activities, Marina Fokidi has lectured at the Berlin University of the Arts (2017) and numerous other institutions.
Ulrich Matthes was born in Berlin, where he studied acting in the early 1980s under Else Bongers while pursuing a degree in German and English literature. His first theatrical engagements were at the United City Stages of Krefeld and Mönchengladbach, Düsseldorf’s Playhouse and the Bavarian State Theatre. In 1988 Matthes joined Munich’s Kammerspiele and from 1992 onwards he was a leading actor at the Schaubühne am Lehniner Platz in Berlin. Since the 2004/2005 season Matthes has been a member of the Deutsches Theater ensemble. Matthes has also appeared in numerous films, including Tom Tykwer’s “Winter Sleepers” and Volker Schlöndorff’s “The Ninth Day”. For his role in the TV movie “Tatort: Im Schmerz geboren” he was awarded the Grimme Prize and the Goldene Kamera Prize as Best Actor national. For his performance in “Bornholmer Strasse” he was awarded the Prize of the German Television Academy in 2015. In 2017 he played the main role in the award-winning movie “Fremder Feind” directed by Rick Ostermann which is nominated for the Grimme Prize this year. Since 2012 he is the director of the Performing Arts Section of the Academy of Arts, Berlin.
Bige Örer is currently the Director of the Istanbul Biennial. Örer came aboard on the Istanbul Foundation for Culture and Arts in 2003 and worked in the coordination of cultural and artistic projects until she was appointed director to the Istanbul Biennial in 2008. Since 2009, she has been the advisor of the Pavilion of Turkey at the International Art Exhibition of la Biennale di Venezia. She has acted as a consultant and a jury member for a number of international cultural and artistic projects as well as an independent expert for the European Union. Bige Örer’s breadth of activity embraces both the artistic and the academic fields. She was the co-author of the children’s book A Colourful Journey In A Time Machine: Istanbul Biennials for Children. She has also been teaching, between 2011 and 2013, courses at the Istanbul Bilgi University. Since March 2013, she is the vice-president of the International Biennial Association. She is in the editorial board of the publication of IBA, titled PASS.