Name: Florencia Malbrán
Place of Birth: Buenos Aires, Argentina
Year of Birth: 1979
Areas of Work: Curation, Writer
Florencia Malbrán is a curator of contemporary art working out of Argentina. She is currently a faculty member at New York University in Buenos Aires where she teaches Modern and Contemporary Latin American Art.
In 2013 she co-curated the 43rd Salón (inter) Nacional de Artistas in Colombia, and the exhibitions Numbers in the Dark at SAAG in Canada and In/Visible, Works from the Frac Lorraine Collection, France at MUUA in Colombia. Additional recent exhibitions include Unseen Voices: Alejandro Cesarco and Jorge Méndez Blake at Fundación Proa (Buenos Aires, 2010) and Gian Paolo Minelli: Villa Lugano + Zona Sur at Centro Cultural Recoleta (Buenos Aires, 2010; traveled to Museo Emilio Caraffa, Córdoba, 2011; and Museo del Barro, Asunción, Paraguay, 2012). She has lectured and published widely on contemporary art. Recent catalog writing includes essays on Ernesto Neto for the Astrup Fearnley Museum of Modern Art, and Ragnar Kjartansson for the Icelandic Pavilion at the 53rd Venice Biennale.
She was the Hilla Rebay International Fellow at the Guggenheim Museums in New York, Bilbao, and Venice (2007-2008), and she worked previously at the Museum of Modern Art in Buenos Aires (2004-2005) and the Pinacoteca do Estado in São Paulo (2006). Additionally, as a curator, she has been in residence in France (2012) and Spain (2009).
Malbrán holds a B.A in Art History from Buenos Aires University (High Honors) and an M.A. from the Center for Curatorial Studies, Bard College, New York, where she was a Bruce T. Halle Family Foundation Fellow. She is completing a doctorate in Arts and Humanities at Rosario National University, Argentina, and was a PhD Fellow at the National Council of Scientific Research (Conicet). Her dissertation rejects the idea of medium specificity and explores intersections among art, literature and critical theory from 1990-2010, focusing on the intertwining histories of the verbal and the visual.
