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| Association Internationale des Critiques d'Art | |
|---|---|
| Name | Association Internationale des Critiques d'Art |
| Formation | 1950 |
| Type | Non-governmental organization |
| Headquarters | Paris |
| Leader title | President |
Association Internationale des Critiques d'Art
The Association Internationale des Critiques d'Art is an international professional organization for art critics, curators, historians and writers founded in 1950 and headquartered in Paris. It functions as a network connecting practitioners associated with major museums, galleries, universities and festivals across Europe, the Americas, Asia and Africa. The association collaborates with institutions such as the Musée du Louvre, Tate Modern, Museum of Modern Art, Guggenheim Museum, and National Gallery while engaging with artists, curators and cultural policymakers from cities including New York City, London, Paris, Berlin and Tokyo.
Founded in 1950 in the aftermath of World War II, the association emerged amid debates involving figures linked to Salon des Réalités Nouvelles, Peggy Guggenheim, André Breton, Clement Greenberg, Robert Rauschenberg, and institutional leaders from the Museum of Modern Art and Centre Pompidou. Early congresses drew delegates connected to the Venice Biennale, Documenta, São Paulo Art Biennial, Biennale de Paris and national academies such as the Académie des Beaux-Arts and the Royal Academy of Arts. During the Cold War era the association navigated tensions involving cultural diplomacy from capitals including Washington, D.C., Moscow, Belgrade and Berlin, interacting with exchanges like the Cairo Biennale and festivals such as the Edinburgh Festival Fringe. In later decades it responded to postcolonial debates alongside voices from Algiers, Accra, Lagos, Kinshasa and institutions like the Smithsonian Institution and the Getty Research Institute.
Governance follows a structure of elected officers and an international council modeled after practices in organizations such as UNESCO, International Council of Museums, International Federation of Library Associations and Institutions and European Union networks. The presidency and secretariat have been based in Paris, with administrative ties to municipal authorities like Mairie de Paris and engagement with ministries such as the Ministry of Culture (France). Committees reflect advisory models used by the Arts Council England, German Cultural Council and the Canada Council for the Arts. Legal registration and statutes reference frameworks similar to those of Organisation internationale de la Francophonie and regional treaty bodies like the Council of Europe.
Membership includes critics and writers affiliated with institutions such as Tate Britain, Centre for Contemporary Arts, Victoria and Albert Museum, Palazzo Grassi, Museo Nacional Centro de Arte Reina Sofía, Prado Museum, Hermitage Museum, State Tretyakov Gallery, National Museum of China and the National Gallery of Victoria. Chapters and sections operate in national contexts comparable to AICA–USA, provincial groupings like those in Ontario, regional networks in Catalonia, Bavaria, Andalusia and transnational federations connected to the European Network of Cultural Centres. Members often hold posts at universities such as Columbia University, Sorbonne University, University of Oxford, Harvard University, University of Tokyo and University of São Paulo or write for publications like Artforum, ArtReview, The Burlington Magazine, Frieze, Art in America and Le Monde.
Programs include peer-review workshops, mentorship schemes and public talks with participants drawn from exhibitions at institutions like Whitworth Art Gallery, Mori Art Museum, Kunsthaus Zürich, Stedelijk Museum Amsterdam, Museum Ludwig, Musée d'Orsay, Rijksmuseum, Fondation Beyeler and galleries on Rue de Rivoli. The association organizes training comparable to workshops at Getty Conservation Institute and curatorial residencies akin to those at Serpentine Galleries, supporting research projects tied to archives such as the Bibliothèque nationale de France and collections like the Huntington Library. It also collaborates on advocacy campaigns with bodies including International Congress of Art Critics affiliates and cultural rights groups operating in contexts like Cape Town, Buenos Aires, Mexico City and Istanbul.
The association publishes bulletins, journals and critical dossiers similar in mission to titles like Critical Inquiry, October (journal), Art Bulletin, Oxford Art Journal and Journal of Contemporary Art. It administers prize schemes and awards recognizing excellence in critical writing, echoing models of the Turner Prize, Hugo Boss Prize, Praemium Imperiale and regional honors presented by institutions such as the Musée d'Art Moderne de la Ville de Paris and the National Endowment for the Arts. Publications include catalogues produced for exhibitions at venues like the Palais de Tokyo, Carnegie Museum of Art, Museum of Contemporary Art Chicago and the Hammer Museum, and collaborative monographs with publishers like Tate Publishing, Phaidon Press and Thames & Hudson.
International congresses, meetings and symposia convene alongside major events such as the Venice Biennale, Frieze Art Fair, Art Basel, FIAC, The Armory Show and Documenta 14. Past congress sites have included capitals and art centers such as Paris, Rome, Madrid, Moscow, Buenos Aires, Helsinki, Copenhagen, Bangkok, Seoul and Johannesburg. Programs typically feature keynote speakers from the ranks of critics and curators associated with names like Rosalind Krauss, Hal Foster, Lucy Lippard, Terry Smith, Okwui Enwezor, Anne d'Harnoncourt and Nicholas Serota and panels addressing exhibition practices at institutions such as the New Museum, Baltic Centre for Contemporary Art and MAXXI.
The association has faced critique over representation, diversity and governance reminiscent of debates involving institutions like the Museum of Fine Arts, Boston, Tate Modern, Smithsonian American Art Museum and biennials in Venice and Istanbul. Controversies have concerned the role of critics in market dynamics exemplified by collectors linked to Gagosian Gallery, David Zwirner, Sotheby's, Christie's and patronage practices involving foundations such as the Guggenheim Foundation and the Getty Foundation. Debates have also engaged national cultural policies in countries such as France, United Kingdom, United States, Brazil, India and South Africa and ethical questions raised in relation to restitution cases involving collections like the Benin Bronzes, wartime provenance inquiries similar to those handled by the Monuments, Fine Arts, and Archives program and debates over censorship seen in episodes at venues like the Museum of Contemporary Art, Sydney and the National Gallery (Prague).
Category:Art criticism organizations