Manuela Moscoso
Curator’s Talk: Manuela Moscoso in conversation with Sylvie Fortin
February 8, 2022
In this relaxed and congenial conversation, Manuela Moscoso, curator of The Stomach and the Port, the evocatively titled Liverpool Biennial 2021 relates how the project was propelled by a simple yet crucial question–What is a body?–and by Liverpool’s location, role in the slave trade, and living colonial legacy, The Stomach and the Port foregrounded bodies as “fluid, porous, and interdependent organisms, continuously shaping and shaped by their environments.” This conversation revisited several projects from The Stomach and the Port and explored some parallels with I don’t know you like that: The Bodywork of Hospitality, providing a rare glimpse into the curatorial process and the afterlives of exhibitions.
BIOGRAPHY
Manuela Moscoso, a curator, editor, and cultural producer who studies the process of artmaking and its effects in the world, was just named Executive Director of the Center for Art, Research and Alliances (CARA), New York. She curated the Liverpool Biennial 2021, entitled The Stomach and The Port. She was previously Senior Curator at Tamayo Museo in Mexico City, Associate Curator of the Bienal de Cuenca 12, in Ecuador, and co-director of Capacete, a residency program based in Brazil where she also co-ran the curatorial program, Typewriter. She is part of Zarigüeya, a programme that activates relations between contemporary art and the pre-Columbian collection of the Museo Casa del Alabado, Ecuador.
Diego Blanchi, Inflation, 2021. Installation view at Lewis's Building, Liverpool Biennial 2021. Photo: Stuart Whipps.
PROGRAMS
RESOURCES
Manuela Moscoso
Curator’s Talk: Manuela Moscoso in conversation with Sylvie Fortin
February 8, 2022
In this relaxed and congenial conversation, Manuela Moscoso, curator of The Stomach and the Port, the evocatively titled Liverpool Biennial 2021 relates how the project was propelled by a simple yet crucial question–What is a body?–and by Liverpool’s location, role in the slave trade, and living colonial legacy, The Stomach and the Port foregrounded bodies as “fluid, porous, and interdependent organisms, continuously shaping and shaped by their environments.” This conversation revisited several projects from The Stomach and the Port and explored some parallels with I don’t know you like that: The Bodywork of Hospitality, providing a rare glimpse into the curatorial process and the afterlives of exhibitions.
BIOGRAPHY
Manuela Moscoso, a curator, editor, and cultural producer who studies the process of artmaking and its effects in the world, was just named Executive Director of the Center for Art, Research and Alliances (CARA), New York. She curated the Liverpool Biennial 2021, entitled The Stomach and The Port. She was previously Senior Curator at Tamayo Museo in Mexico City, Associate Curator of the Bienal de Cuenca 12, in Ecuador, and co-director of Capacete, a residency program based in Brazil where she also co-ran the curatorial program, Typewriter. She is part of Zarigüeya, a programme that activates relations between contemporary art and the pre-Columbian collection of the Museo Casa del Alabado, Ecuador.
Diego Blanchi, Inflation, 2021. Installation view at Lewis's Building, Liverpool Biennial 2021. Photo: Stuart Whipps.