International Lab for Art Practices

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Applications for 2022 are closed
Apply here, and we will schedule a meeting (no fee)
Applications deadline: December 19, 2021


Through exchanges and critical discussions in contemporary art practices, the International Lab For Art Practices fosters the meaningful growth of artists, curators, critics, researchers, educators, and people in the contemporary visual arts field working in an interdisciplinary environment.

The community-based program focuses on supporting its participants to create new and unique positions in the international art world through activities on different forms of practice and examining various contexts worldwide. Participants will be challenged to devote themselves to their practice development while working on a proposed project. These include a series of theoretical discussions and exercises tailored according to each participant’s interests and aspirations, as well as live sessions with experts.

Our educational model is the result of more than ten years of providing online education in contemporary arts with highly successful results considering the challenging Brazilian scenario. Now, we are doing a similar thing here in the US, creating and sharing several opportunities in New York and Miami with our community and people from diverse backgrounds who would like to join forces with us.

Overall themes


The program is structured to reflect a complete cycle of work––participants will engage in a variety of activities ranging from theoretical discussions and research to the development of work based on a proposed project.

Each quarter covers the following cycles:

1st Cycle

Group Critique

In the first four weeks of the program, we will elaborate on critical thoughts and formulate discourses about contemporary art practices.

2nd Cycle


Over these four weeks, we will challenge the creative process routine and practice how to present a compelling storytelling presentation.


3rd Cycle


In the final stage, participants will focus on the elaboration of their projects, and we will bring questions such as: 

    • Project planning and production
    • Meaningful projects
    • Project execution
    • Project publication

Each year, participants will present works developed throughout the program in three exhibitions and residency opportunities. These exhibitions will happen in the spring or fall quarters. The Uncool Artist in Residency occurs during the winter. By the end of one year (four quarters), participants must present a publication related to their project developed during the program.


A 'community-based' versus 'individual-centered' education:

At Uncool Artist, we believe that creating strong and lasting bonds is key to a sustainable and happy life in the arts. Our focus is on cohesive work and collaborative growth at the expense of stimulating a romanticized view of "the artist” or "the curator” as the central figures in the art world. For us, a welcoming and interdisciplinary community is the primary way to professional, financial, and emotional fulfillment for all those involved, while respecting individualities and specific necessities without losing sight that we are stronger when we collaborate.


As part of the program, participants will be able to hear from experts in various areas of contemporary art practice. A selection of lecturers such as artists, curators, critics, gallery owners, and other art professionals will join us to discuss relevant contemporary art themes based on their work and experience. The sessions will take place online via video conference.
All enrolled participants have full access to past recordings.

Tam Gryn

Tam Gryn is the Director of Fine Arts at, where she helps artists create their own autonomous crypto economies. She is also Head Curator at SHOWFIELDS. She is the former Head of the Curatorial Department of the Artist Pension Trust as well as Head Curator for RAW POP UP. Tam is the co-founder of Culturadora and currently sits on the Board of Directors of the Kulturspace Foundation in Berlin.
She has curated multiple art exhibitions as well as charity fundraisers. Clients and collaborators include The Brooklyn Museum, The Whitney Museum, Museo de Arte Contemporaneo de Puerto Rico, Glossier, Heineken, Bombay Sapphire, The Glenlivet, Diptyque, Evian, Mastercard, and SVA School of Visual Arts NYC. 
Originally from Venezuela, Tam studied Art History at the Sorbonne University, Politics at Reichman University and Negotiations at Tel Aviv University.

Daniela Holban

Daniela Holban is a Romanian-born curator, cultural producer, community builder, and programs director with over 14 years of professional experience in art institutions, museums, and nonprofits. She specializes in curatorial direction, public programming, and creative strategy. Her curatorial practice seeks to respond to and present systems of self-reflection, identity, multipolarity, and sustainability. She is dedicated to public engagement, artist development, environmentally-based art programming, and action-driven communities.

She currently holds the position of Director of Programs & Curation with NOoSPHERE Arts and is a Senior Curator at Artfare, Inc. In the past, she has worked with the Metropolitan Museum of Art, MANA Contemporary, {CTS} Creative Thriftshop, William Bennet Gallery, The Ear Classical, and The Fashion and Textile Museum in London.

Miguel Luciano

Miguel Luciano is a multimedia visual artist whose work explores themes of history, popular culture, social justice and migration, through sculpture, painting and socially engaged public art projects. His work has been exhibited nationally and internationally, including exhibitions at The Mercosul Biennial, Brazil; El Museo Nacional de Bella Artes de la Habana, Cuba; La Grande Halle de la Villette, Paris; El Museo del Palacio de Bellas Artes, Mexico City; The San Juan Poly-Graphic Triennial, Puerto Rico, and The Smithsonian American Art Museum in Washington, DC.

He is the recipient of numerous grants and awards, including the Louis Comfort Tiffany Award Grant, the Joan Mitchell Foundation Painters and Sculptors Award, and he was a fellow of the smARTpower Program – an international, community-based art initiative of the Bronx Museum of the Arts and the Bureau of Educational and Cultural Affairs of the U.S. Department of State. His work is featured in the permanent collections of The Smithsonian American Art Museum, The Brooklyn Museum, El Museo del Barrio, the Newark Museum, and the Museo de Arte de Puerto Rico.

Luciano is a faculty member at the School of Visual Arts in New York and Yale University School of Art. He is currently an Artist in Residence within The Metropolitan Museum of Art’s Civic Practice Partnership Residency Program.

Ilana Harris-Babou’s work is interdisciplinary; spanning sculpture and installation, and grounded in video. She speaks the aspirational language of consumer culture and uses humor as a means to digest painful realities. Her work confronts the contradictions of the American Dream: the ever unreliable notion that hard work will lead to upward mobility and economic freedom.

She has exhibited throughout the US and Europe, with solo exhibitions at The Museum of Arts & Design and HESSE FLATOW in New York, USA. Other venues include The Whitney Museum of Art, New York, USA; The Studio Museum, New York, USA; Sculpture Center, Queens, USA; Kunsthal Charlottenborg, Copenhagen, Denmark; Kunsthaus Hamburg, Hamburg, Germany; Casa Encendida, Madrid, Spain; West Space, Melbourne, Australia; among others.

She has been reviewed in the New Yorker, Artforum, and Art in America, among others. She holds an MFA in Visual Art from Columbia University and a BA from Yale University.

Based in New York City, she is director and founder of Gate.

When Gaby Schattan moved from São Paulo to New York City, she couldn’t leave without bringing along the vibrant art from her home country. After a year of researching and daydreaming about building a cultural bridge between her new home and origin, Gaby founded Gate.

Gate allows one to engage with and learn about the culture and arts from Brazil. Gate is not simply about decorating walls, rather a source to find artworks that embody a point of view. Its arts portal offers a fresh and relevant variety of emerging artists who are at the forefront of the development of contemporary art in their region. Each hand-picked piece is unique, yet all of them present significant conceptual discourses and attempts to inspire new perspectives on how art may help society navigate today’s social and political climate.

Above all, Gate connects continents, cultures, artists, collectors (longtime and beginners), and people.

Angel Abreu (American, b.1974. Bronx, NY) is an artist, writer and educator who studied philosophy, art history and comparative literature at the University of Pennsylvania and New York University. Abreu joined Tim Rollins and Kids of Survival (K.O.S.), an artist collaborative originating the South Bronx in 1986. Rollins and K.O.S. have exhibited their work, which is based on canonical literature as well as music, in art galleries and museums internationally. Their work resides in over 120 permanent museum collections around the world including the Museum of Modern Art (MoMA), the Philadelphia Museum of Art and Tate Modern. Through his collaboration with K.O.S., Abreu was the youngest, at 14, to have a work acquired by and be listed on the artists’ roster of MoMA in New York City. 

Abreu continues his work with Tim Rollins and K.O.S. despite the sudden death of its founder, Tim Rollins in 2017. The project has reinvented itself and become Studio K.O.S. under Abreu’s leadership. In 2019, Studio K.O.S. had its first commercial exhibition since Rollins’ passing at Lehmann Maupin Gallery in NYC. They have continued to conduct socially engaged workshops with youth and educators around the United States and internationally. Since its reinvention, Studio K.O.S. has been written about in the New York Times, Forbes Magazine, Philadelphia Inquirer etc. Recent projects of Abreu and Studio K.O.S. includes the Walker Art Center, MoMA, Art Resources Transfer and the National Academy of Sciences.

In addition to Abreu’s work with Studio K.O.S., he continues his own painting practice based on a study of literature, philosophy, music and social practice. His individual work was included in the recent exhibition titled Embodied Abstraction at Wexler Gallery in Philadelphia. Abreu is on faculty in both the BFA Fine Arts and MFA Art Practice departments of the School of Visual Arts in New York City. He also serves on the Education Committee of The Bronx Museum of the Arts in The Bronx, NY. Abreu is also proud to be the 20′-21′ and 21’-22’ Wallace Wilson Fellow at his alma mater Deerfield Academy in Deerfield, MA. 

Antonio Sergio Bessa

Antonio Sergio Bessa, PhD, is Chief curator emeritus at the Bronx Museum of the Arts, and taught Museum Education Issues at Columbia University’s Teachers College from 2006 to 2016.

A scholar of concrete poetry, Bessa has organized several critically acclaimed exhibitions on themes related to text-based art. His essays on concrete poetry have been published in several anthologies, journals, and websites including and  He is the author of Öyvind Fahlström: The Art of Writing, and editor of Novas: Selected Writings of Haroldo de Campos (in collaboration with Odile Cisneros), and Mary Ellen Solt: Toward a Theory of Concrete Poetry. He organized several exhibitions at the Bronx Museum including Joan Semmel: A Lucid Eye (2013), Paulo Bruscky: Art is our Last Hope (2013), Martin Wong: Human Instamatic (2015), Gordon Matta-Clark: Anarchitect (2017), The Life and Times of Alvin Baltrop (2019).

Piero Atchugarry is an Italian-Uruguayan gallerist, art dealer and Executive Director of the Fundación Pablo Atchugarry. He is the founder of Piero Atchugarry Gallery in Garzón (Uruguay) and Miami (USA) specialized in international modern and contemporary art.

In 2007, Piero started working as a manager at the Fundación Pablo Atchugarry, after which he obtained a BA in Business Management & Finance at the University of Westminster, London. While completing his studies he worked in finance. He later obtained an MA in History of Art from Christie’s Education, New York.

He was still interning at Christie’s when he opened the Piero Atchugarry Gallery in 2013, in Garzón, Uruguay. From then on, he developed the gallery’s strategic vision, embedding it with a core identity, adapting to fluctuating global trends through exchanges between international artists, curators, collectors and institutions. 

In 2013 the gallery began a program of residencies. The program supports large scale proposals that interact within the context of the sculpture garden and the general public. The gallery opened a second venue in Miami Design District (US) in 2018. In the next year 2019 Piero Atchugarry established the PA Takeover Program, organizing satellite exhibitions across the globe

Sheila Pepe is best known for her large-scale, ephemeral installations and sculpture made from domestic and industrial materials. Since the mid-1990s Pepe has used feminist and craft traditions to investigate received notions concerning the production of canonical artwork as well as the artist’s relationship to museum display and the art institution.

Venues for Pepe’s many solo exhibitions include the Smith College Museum of Art (Massachusetts) and the Weatherspoon Art Museum (North Carolina) as well as her traveling exhibition ‘Sheila Pepe: Hot Mess Formalism,” produced by the Phoenix Art Museum, (Arizona). Her work has been included in important group exhibitions such as the first Greater New York at PS1/MoMA; Hand + Made: The Performative Impulse in Art & Craft (Contemporary Art Museum Houston); and Artisterium (Tbilisi, Republic of Georgia). Pepe’s work has been featured in the the 8th Shenzhen Sculpture Biennale; the ICA/Boston’s traveling exhibition Fiber: Sculpture 1960-Present; Her most recent project “Carrie Moyer and Sheila Pepe: Tabernacles for Trying Times,” produced by the Portland Museum of Art (Maine) highlights of the exhibition will be on view at the Museum Of Arts & Design in New York City, opening late spring, 2021.

Pepe has taught since 1995 at Brandeis University, Bard College, Cornell Univerity, Columbia University, Pratt, RISD, Skowhegan School, Stanford University, SVA, Williams College, Yale University, among others. Her own artistic development was a mix of academic training and non-degree granting residencies: BA, Albertus Magnus College; BFA, Massachusetts College of Art; Haystack School; Skowhegan School; MFA,  and School of the Museum of Fine Arts, Boston/ Tufts University.

Photo: Rachel Stern

Billy Gerard Frank

Billy Gerard Frank (born in Grenada) is a multi-disciplinary artist, and autodidact living in New York who works at the intersection of art, filmmaking, design, and activism. He was recently selected to represent Grenada at 58th La Biennale di Venezia 2019. Frank’s practices mine personal, political, and social histories and challenge dominant and normative discourses around them. His research-based work addresses issues of migration, race, and global politics, relating to gender, minority status, and post-colonial subjects.
His collected, altered and own mix media artworks and films have been exhibited in groups and solo shows in galleries and institutions like The Brooklyn Museum (2020) and is in several private collections and institutions like National Academy Museum of Fine Arts and Design. Frank is also the founder of Nova Frontier Film Festival & LAB that showcases films and arts from and about the African Diaspora, the Middle East, and Latin America.
Since 2005, after studying filmmaking and media arts at The New School University, and New York University, Frank has worked as a writer, director, and production designer, in both narrative and documentary films that were screened at international film festivals, like Sundance and Berlinale. Frank currently lives and work in Brooklyn, New York.

Laura Raicovich

Laura Raicovich is a New York-based writer and curator who recently completed a book on museums, cultural institutions and the myth of neutrality entitled Cultural strike: Art and museums in an era of protest (Verse 2021). She also serves as interim director for the Leslie Lohman Museum of Art. In 2019 she was a Rockefeller Foundation Fellow at the Bellagio Center, and was awarded the inaugural Emily H. Tremaine Journalism Fellowship for Curators at Hyperallergic. While Director of the Queens Museum from 2015 to 2018, Raicovich co-curated Mel Chin: All Over the Place (2018), a multi-borough survey of the artist’s work, and co-edited Assuming Boycott: Resistance, Agency, and Cultural Production (2017), an anthology of essays about artists’ diverse efforts to challenge institutional and systemic oppression globally. Raicovich, who launched Creative Time’s Global Initiatives in 2012, was formerly Dia Art Foundation Deputy Director, and served at the Guggenheim and Public Art Fund in various capacities. She lectures internationally and in 2019-20 co-curated a seminar series titled Freedom of Speech: A Curriculum for Studies into Darkness at the New School’s Vera List Center for Art and Politics, from which she is co-editing an anthology of writings on the subject (forthcoming 2021).

Photo: Michael Angelo

Omar López-Chahoud

Omar López-Chahoud has been the Artistic Director and Curator of UNTITLED. since its founding in 2012. As an independent curator, López-Chahoud has curated and co-curated numerous exhibitions in the United States and internationally. Most recently, he curated the Nicaraguan Biennial in March 2014. López-Chahoud has participated in curatorial panel discussions at Artists’ Space, Art in General, MoMA PS1, and the Whitney Museum of American Art in New York City. López-Chahoud earned MFAs from Yale University School of Art, and the Royal Academy of Art in London.

Chloë Bass

Chloë Bass is a multiform conceptual artist working in performance, situation, conversation, publication, and installation. Her work uses daily life as a site of deep research to address scales of intimacy: where patterns hold and break as group sizes expand. She began her work with a focus on the individual (The Bureau of Self-Recognition, 2011 – 2013), has recently concluded a study of pairs (The Book of Everyday Instruction, 2015 – 2017), and will continue to scale up gradually until she’s working at the scale of the metropolis. Chloë has held numerous fellowships and residencies, most recently from the CUNY Center for the Humanities, Lucas Artist Fellows, Art Matters, Denniston Hill, the Recess Analog Artist-in-Residence, and a BRIC Media Arts Fellowship. Her projects have appeared nationally and internationally, including recent exhibits at The Studio Museum in Harlem, Kunsthalle Wilhelmshaven, BAK basis voor actuele kunst, Knockdown Center, The Kitchen, the Brooklyn Museum, CUE Art Foundation, Elizabeth Foundation for the Arts Project Space, The Southeastern Center for Contemporary Art, the James Gallery, and elsewhere. Reviews, mentions of, and interviews about her work have appeared in Artforum, The New York Times, Hyperallergic, The Brooklyn Rail, BOMB, Temporary Art Review, and Artnews among others. Her monograph was published by The Operating System in December 2018; she also has a chapbook, #sky #nofilter, forthcoming from DoubleCross Press. Her short-form writing has been published on Hyperallergic, Arts.Black, and the Walker Reader. She is an Assistant Professor of Art at Queens College, CUNY, where she co-runs Social Practice Queens with Gregory Sholette.

María Elena Ortiz

María Elena Ortiz is a curator at PAMM, where she is spearheading the Caribbean Cultural Institute (CCI). At PAMM, Ortiz has organized several projects including The Other Side of Now: Foresight in Contemporary Caribbean Art (2019); Latinx Art Sessions (2019); william cordova: now’s the time (2018); Beatriz Santiago Muñoz: A Universe of Fragile Mirrors (2016); Ulla von Brandenburg: It Has a Golden Sun and an Elderly Grey Moon (2017); Firelei Báez: Bloodlines (2015); and Carlos Motta: Histories for the Future (YEAR). Ortiz has contributed to writing platforms such as the Davidoff Art Initiative, Terremoto Magazine, and others. A recipient of the Colección Patricia Phelps de Cisneros (CPPC) and Independent Curators International (ICI) Travel Award for Central America and the Caribbean, Ortiz’s curatorial practice is informed by the connections between Latinx, Latin American, and Black communities in the US and the Caribbean.

William Cordova

William Cordova is an interdisciplinary cultural practitioner born in Lima, Peru. Lives and works in Lima, Miami, and New York City. Cordova’s work addresses the metaphysics of space and time and how objects and perception changes when we move around in space. He received a BFA from The School of the Art Institute of Chicago in 1996 and an MFA from Yale University in 2004. William Cordova has been an artist in residence at The Studio Museum in Harlem, American Academy in Berlin (Germany), CORE program at the Museum of Fine Art in Houston, Headlands Center for the Arts, Artpace, Skowhegan School of Painting & Sculpture, Lower Manhattan Cultural Council, among others. He has exhibited in the US, Latin America, Europe, and Asia. His work is in the public collection at the Whitney Museum of American Art, Guggenheim Museum (New York, US), Walker Art Center (Minneapolis, US), Harvard University (Cambridge, US), Yale University (New Haven, US), Museo de Arte de Lima (Lima, Peru), Ellipse Foundation (Cascais, Portugal), Perez Art Museum (Miami, US), La Casa de las Americas (Havana, Cuba), among others. Cordova participated in the 2008 Whitney Biennial, 2010 Museum of Modern Art/PS1 Greater New York exhibition, an overview presentation of contemporary artists whose contributions to the arts have had a significant influence in society. He also participated in the highly anticipated “Pacha, Llaqta, Wasichay” exhibition at the Whitney Museum of American Art and the 13th Havana Biennial (Cuba) in 2019. Recent group exhibits include “on the lower frequencies I speak 4U (alquimia sagrada)” at Sikkema Jenkins (New York, US) in 2020. Forthcoming solo exhibitions include Galerie Florian Schonfelder (Berlin, Germany), Columbia University (New York, US), and Livia Benavides 80M2 (Lima, Peru) in 2021. Cordova is co-curator of the Greenwood Centennial (Tulsa, US) and the 2020 Prism Art Fair, a non-profit project focused on African Diaspora artists. He also founded the Miami AIM Biennial in 2020.


Each quarter, participants will receive individual critical mentorship by advisers who will discuss participants' research and projects during virtual studio visits. The selection of advisers is composed of artists, researchers, writers, and curators who are actively engaged in contemporary art practice. Sessions last for 40 minutes online via video conference.

Alessandro Facente

Alessandro Facente is a New York-based Independent art critic and curator, and currently curator at Artists Alliance Inc. Facente holds an M.A. in Art History and Contemporary Art from La Sapienza University in Rome.
His research focuses on the crossover and interplay of art criticism and curatorship by following the artist’s practice from the concept to the final creation of the piece of art. Currently, he is shaping this mechanism of artist-curator relationship and dynamic through a concept that he refers to as ‘curaticism’. 
Facente participated in various programs worldwide including ‘CPR 2018’, a nomadic curatorial research program in Iceland, Faroe Islands, Finland, Norway, and Sweden. He has curated solo, group exhibitions, independent projects, artist initiatives and talks in non-profit spaces, foundations, and galleries, such as HUDSON VALLEY MOCA, Cuchifritos Gallery + Project Space, Critical Practices Inc., NARS Foundation, Italian Institute of Culture, Residency Unlimited, in New York, HIAP in Helsinki (Finland), Ateliê397 in São Paulo (Brazil) and Kunstverein Dresden in Dresden (Germany). His articles, interviews, and essays have appeared in art magazines such as Art Asia Pacific, Artribune, DROME, DOMUS, Heichi, Hyperallergic, TemporaryArtReview, as well as in exhibition catalogs for major museums such as MADRE in Naples and GAMEC in Bergamo.

Aliza Edelman

Aliza Edelman, Ph.D., is an independent curator, art historian, and editor. Her research interests span the modern Americas and the Middle East, with emphasis on the art of the postwar United States and Brazil, the transnational histories of abstraction and concretism, and gender and feminism. In New York, she has organized two historical surveys on Judith Lauand, a pioneer of postwar Latin American concrete abstraction and the only female member of São Paulo’s Grupo Ruptura in the 1950s. Selected scholarly writings are included in the following volumes: Women of Abstract Expressionism (Yale University Press, 2016); American Women Artists, 1935-1970 — Gender, Culture and Politics (Ashgate Press, 2016); and Constructive Spirit: Abstract Art in South and North America, 1920s-1950s (Newark Museum, 2010). She recently published, with Alison Poe, “Eva Hesse’s Laocoon: Mitigated Antiquity and Specters in Space,” in Woman’s Art Journal (Spring/Summer 2020). She earned her doctorate in modern and contemporary art history from Rutgers University, New Jersey, completing the certificate program in curatorial studies, and her BA from Smith College. Her dissertation focused on the material and popular culture related to the rise of the postwar Modern Woman and Abstract Expressionism. She is the Book Review Editor of Woman’s Art Journal.

Andrew Freiband

Andrew Freiband is an artist, film producer, and research-artist. He is the founder and director of the Artists’ Literacies Institute (ALI), an experiment in arts education and engagement that helps artists reframe their artistic practice as research, and then connects them to new possibilities for intervening meaningfully in social, ecological, political, civic, and economic systems.
As a critique of the instrumentalization of artists as only communicators or servants of the marketplace, the ALI seeks to discover new, more meaningful roles for artists in their society and communities.
He holds more than two decades of extensive field experience at the many intersections of art, education, media, film, journalism, literature, social impact, international development, research, and strategic design.

Daniela Holban

Daniela Holban is a Romanian-born curator, cultural producer, community builder, and programs director with over 14 years of professional experience in art institutions, museums, and nonprofits. She specializes in curatorial direction, public programming, and creative strategy. Her curatorial practice seeks to respond to and present systems of self-reflection, identity, multipolarity, and sustainability. She is dedicated to public engagement, artist development, environmentally-based art programming, and action-driven communities.
She currently holds the position of Director of Programs & Curation with NOoSPHERE Arts and is a Senior Curator at Artfare, Inc. In the past, she has worked with the Metropolitan Museum of Art, MANA Contemporary, {CTS} Creative Thriftshop, William Bennet Gallery, The Ear Classical, and The Fashion and Textile Museum in London.

Elisa Wouk Almino

Elisa Wouk Almino is a writer, literary translator, and editor. She is the senior editor at Hyperallergic and the editor of Alice Trumbull Mason: Pioneer of American Abstraction (Rizzoli, 2020). She teaches art writing and translation at UCLA Extension and Catapult. 

Eun Young Choi

Eun Young Choi is an artist and curator born in Seoul, South Korea. She was raised in India, Afghanistan, Bahrain, and the United States and is currently based in Brooklyn. Her work has been exhibited internationally at the Centro de Arte Contemporáneo de Caja de Burgos, Spain; Aguélimuséet, Sala, Sweden; Kunsthaus Dresden, Germany; Foundry, London, UK; and the Landmark Project, Tokyo, Japan in addition to numerous venues in the U.S.
She has organized exhibitions and programs at the Chicago Department of Cultural Affairs, National Academy Museum, New Museum’s IDEAS CITY Festival, NARS Foundation, United Nations Headquarters, Asian American Art Centre, AHL Foundation, as well as collaborating with various galleries in New York and Seoul.
Her work and programs have been featured in the New York TimesNew York magazine, VOGUE magazine, The Brooklyn Rail, and Artcritical among others. She holds an MFA from the School of Visual Arts and a BFA from the School of the Art Institute of Chicago and is the co-founder of IA Curatorial Collective and the Powers Projects.

Ilana Harris-Babou

Ilana Harris-Babou’s work is interdisciplinary; spanning sculpture and installation, and grounded in video. She speaks the aspirational language of consumer culture and uses humor as a means to digest painful realities. Her work confronts the contradictions of the American Dream: the ever unreliable notion that hard work will lead to upward mobility and economic freedom.
She has exhibited throughout the US and Europe, with solo exhibitions at The Museum of Arts & Design and HESSE FLATOW in New York, USA. Other venues include The Whitney Museum of Art, New York, USA; The Studio Museum, New York, USA; Sculpture Center, Queens, USA; Kunsthal Charlottenborg, Copenhagen, Denmark; Kunsthaus Hamburg, Hamburg, Germany; Casa Encendida, Madrid, Spain; West Space, Melbourne, Australia; among others.
She has been reviewed in the New Yorker, Artforum, and Art in America, among others. She holds an MFA in Visual Art from Columbia University and a BA from Yale University.

Julian A. Jimarez Howard

Julian is a curator, artist, writer, and arts administrator based in New York City. His conceptual focus is on the many points of friction between intention, articulation, and reception. He was the founder and co-director of OUTLET Fine Art, an innovative gallery in Brooklyn from 2012 – 2016 as well as roving curatorial project Associated Gallery. He has worked on over 80 exhibitions with more than 300 artists, and his projects have been reviewed in places like New York Magazine, The Creator’s Project, Cool Hunting, The New York Times, and Art in America. His writing has been featured in various publications like Garage Magazine and Whitehot Magazine of Contemporary Art. He currently manages the Corporate Art Program for Johnson & Johnson. 

Julie Dumont

Julie Dumont (Brussels, 1974) started her activities as an independent curator in São Paulo (Brazil) in 2014. She entered the Fita Tape gallery as a partner in 2015, then created the curatorial initiative “The Bridge Project” in September 2017. The Bridge Project mixes artists from different stages of their career and countries, focusing on giving more visibility to young or under-represented artists through exhibitions in commercial and non-commercial spaces in São Paulo, Brussels and New-York mainly. In this frame, she curated “Os Hallucinés” with Thomas Perroteau, Julien Nagereau, and Theodore Erreira Guyer (ISLA, São Paulo, September 2018); “O que a Imagem Não Revela” with Marcelo Amorim, Nino Cais, Denise Gadelha, Gordana Manic, Ivan Padovani, André Passos, and Marco Maria Zanin (ISLA, São Paulo, November 2018); “O Maravilhamento das Coisas” with Leda Catunda, Mano Penalva, Daniel Barclay, Sergio Pinzon, Mayla Goerisch, Bruno Brito, Mariano Barone, Matheus Chiaratti, Martin Lanezan, and Tatiana Dalla Bona (Sancovsky Gallery, São Paulo, March 2018); “Campo Aberto” with Charlotte Marchand (Sancovsky Gallery, São Paulo, May 2018); “Re-Que-Bra” with Mano Penalva (Frédéric de Goldschmidt Collection, Brussels, June 2018); “Hasta Tepito” with Mano Penalva (B[X] Gallery, New York, August 2018); “A Matéria da Memória” with Guita Soifer and Inna Cymlich (Soma Gallery, Curitiba, October 2018); “Nós e Eles” with Nicolas Bourthoumieux (Projeto Fidalga, São Paulo, November 2018); “Umbigo do Desejo” with Matheus Chiaratti at Quadra gallery (Rio de Janeiro, April 2019); “Tropical Gardens” with Alice Quaresma, Daniel Barclay, and Mano Penalva at Le 26 BY (Brussels, June 2019); “Escape Entrópico” with Manuela Costa Lima at Quadra (Rio de Janeiro, August 2019); “Sob o Céu Estrelado” with Lin Yi Hsuan at Projeto Fidalga (December 2019); and “O Efeito Tyndall” with Adriana Affortunati, Alexandre Brandão, C.L. Salvaro, Jurgen Ots, and Nicolas Bourthoumieux (Central Galeria, February 2020 – published on Terremoto IG). She was invited as a resident curator at Residency Unlimited (NYC, August 2018).

Kiki Mazzucchelli

Kiki Mazzucchelli is an independent curator, editor and writer. Amongst her recent exhibition projects are Eleonore Koch: The Essential Painter (Mendes Wood DM, NY and Stuart Shave Modern Art, London, 2020-21); Flávio de Carvalho (S2 Gallery, London, 2019);  Ivens Machado: The Raw of the World (Pivô, São Paulo, 2016) and Site Santa Fe Biennial (Site Santa Fe, New Mexico, 2016). She is the author and editor of a number of publications focusing on art from Latin America and recently organised Tonico Lemos Auad’s first monograph (Koenig, 2018) and Marcelo Cidade: Blind Wall (Cobogó, 2016). Since 2017, she has been running the independent project space Kupfer, in London, and has been co-curator (with Cristiana Tejo) of Residência Belojardim, a yearly exhibition programme taking place in the northern state of Pernambuco, Brazil.

Raquel Guerra

Born in Porto, Portugal, in 1976.

Degree in History (UPT) and postgraduate studies in Museology and Curatorial Studies (FBAUP).Currently attending a PhD in Contemporary Art (Colégio das Artes, UC). Curator and researcher.
As a researcher, she participated in the projects Anamnese_ Digital Platform on Contemporary Art from/in Portugal between 1993 and 2003 (Ilídio Pinho Foundation, Porto) and IDAP S20_ Digital Interface of Portuguese Art of the 20th Century (Universidade Católica Portuguesa, Porto).
Fellowship in 2011 from Calouste Gulbenkian Foundation for curatorial residency in Brazil (Rio de Janeiro and São Paulo) _Residência Capacete.
She lectured at the postgraduate degree in Photography and Contemporary Art at IPA, Lisbon.
She has been dedicated to the management of contemporary art collections: Marín.Gaspar Collection, Norlinda and José Lima Collection and Treger / Saint Silvestre Collection.
Director of the Oliva Creative Factory’s Art Museum, São João da Madeira, between 2014 and 2017. Director of the São João da Madeira Art Center between 2015 and 2017.
She writes regularly for catalogs and art publications

William Powhida

William Powhida is a G-E-N-I-U-S who makes fun of the art world to highlight the paradoxes and absurdities of economic and social value systems that keep the sphere of visual art afloat on a surging tide of inequality. His work relies on research and participation to diagram, list, perform and critique the forces that shape perceptions of value. He is responsible or partly responsible for exhibitions including After The Contemporary at The Aldrich Contemporary Art Museum, Month to Month with Jennifer Dalton, Overculture at Postmasters Gallery, and Hashtag Class [#class] with Jennifer Dalton at Winkleman Gallery.  His recent exhibitions include Possibilities for Representation at Charlie James Gallery, an expanded version of an installation made for Twenty Twenty at the Aldrich. His show Complicities was selected by New York Times critic Holland Cotter as one of the best gallery shows of 2019.  He is currently working on a survey show of new and recent work for February 2022. 
Powhida is a co-host of the infrequent podcast, Explain Me, with Paddy Johnson that explores the intersection of art, money, and politics. He is a member of the Artists Studio Affordability Project, an artist-led advocacy group working towards commercial rent regulation. He is on faculty at the School of Visual Arts in the MFA Fine Arts program.
He is currently represented by Postmasters Gallery (NY), Charlie James Gallery (LA), Poulsen Gallery (DK), and Platform Gallery (WA). He holds a BFA in Painting from Syracuse University and an MFA in painting from Hunter College.  His work has been written about in the New York Times, Artforum, Art in America, The Los Angeles Times, Hyperallergic, ArtFCity, The Guardian, the New Yorker, New York Magazine, and October among other publications.

Julie McKim

Julie McKim is an independent curator from Brooklyn, New York. She has held curatorial positions at The Whitney Museum of American Art, Performa, New York, and The Kitchen, New York, and until recently, she ran the Brooklyn-based alternative art space Kunsthalle Galapagos. She has produced curatorial projects in New York, California, Berlin and Vienna. In addition to curating independently, she manages a preeminent New York collection of modern and contemporary art. She began her arts career as a volunteer at the Oakland Museum of California, giving tours and sharing the profound importance of the artist Gordon Parks. It was through his work, that she first saw the transformative possibilities of art. She is driven by the belief that art and artists are truly necessary for a vital and thriving society, and that artists should be able to sustain themselves while making the world a better place.

Ana Calzavara

Ana Calzavara is a Brazilian artist based in the City of São Paulo. She has a Post Graduation in Painting from The Byam Shaw School of Art (London) and a PhD in Art from The University of São Paulo. She has been showing in solo and group exhibitions at prominent institutions in Brazil such as The Cultural Center of São Paulo, Museum of Image and Sound, Moreira Salles Institute, House of Latin America , Social Service of Commerce and University Center of Maria Antonia, among others. She worked as an assistant curator at The Museum of São Paulo, one of the most important museums in Latin America. Ana participated extensively in international projects and shows such as The International Contemporary Printed Art Exhibition and Symposium (an itinerary exhibition through Japan, China, Switzerland, Poland and Australia), The Arte Laguna at Arsenale (Venice), The International Contemporary Biennial of Trois-Rivière, (Canada), Print Week at Pratt Institute (NY) and The National Printing Exhibition ( London). Her works are permanently displayed in collections at Douro Museum (Portugal) and at Contemporary Art Museum of Rio Grande do Sul and of Paraná, Brazil. The University of São Paulo Press published a book about Ana’s 20-year career in 2017.


Participants are encouraged to develop and present their projects to the Uncool Artist community and the public, either virtually or in person. The purpose of these activities is to offer opportunities for experimentation, creation, and effective execution of the most meaningful projects for the participants’ contexts. Proposals will be planned in collaboration with or guided by our research and curatorial team.

Opportunities for presenting projects at Uncool Artist:

Uncool Artist Website and Social Media

Participants will also have a dedicated page on the Uncool Artist website and will be featured on our social media. Participants will also be encouraged to write texts to be published on our website and social media platforms.

international community FORUM

Once a month, on Tuesday evenings, all ILAPers (from all groups in the program) are invited to participate in assembly to debate and decide collectively on projects, goals, and new Uncool Artist’s initiatives.

General Calendar 2022

– Winter Quarter: January 10 – March 30
– Spring Quarter: April 11 – June 22
– Summer Quarter: July 11 – September 28
– Fall Quarter: October 03 – December 21


With a customized blend of platforms and online education methodology, Uncool Artist offers a unique approach to online learning practices based on over 20 years of the founder’s experience. The program is organized in quarters, with 12 weeks of meetings and activities. Each participant must enroll in four quarters to receive the certificate, executing a complete project plus publication.

Group Meetings:
1:00 pm – 4:00 pm EST
6:00 pm – 9:00 pm EST

Once a month (TBD)
1:00 pm–4:00 pm EST

Advisory Meetings
8 meetings per quarter
Held on Mondays
40 minutes each meeting – Scheduled between 1:00pm and 4:00pm EST
6:00 pm–9:00 pm EST

We will be meeting weekly throughout each quarter–with additional programming made up of monthly lectures and individual advisory meetings.

*Choose the best timeframe for you: afternoon or evening

How to enroll

ILAP was created for artists, curators, critics, researchers, educators, and anyone in the cultural sector, aiming to be part of a community that pursues a distinct position in the international art field. It proposes an alternative to master’s degrees. It also serves as a platform for those seeking to continue engaging in critical discussions about the art world today and intending to expand their networks.

Apply, and we will schedule a meeting (no fee).

Once we receive your material and information listed on the form, we will schedule your interview and contact you with further information about the enrollment process. 

If you have any questions, e-mail us.


Tuition for each quarter is USD 2,400.

Partial scholarships are discussed case by case. We do not offer full scholarships.

ILAP accepts up to 10 participants per group, so the order of application counts. Do not wait until the last minute! This is not a selection process, but the interview is a significant moment for the coordinators to learn more about you and your goals with the program prior to your enrollment. Send your material as soon as possible and enjoy the conversation with us.


Participants in the program will receive a completion certificate at the end of the program, accompanied by a record of achievement.

Certificated ILAPers have the opportunity of working within Uncool Artist and in other institutions considering their performance during the program journey.


All meetings will be held in English. Participants must be fluent in reading, writing, understanding, and speaking English.


Ana Roman

Ana Roman, is an independent curator. She has a Master’s degree in Human Geography from São Paulo University and is a doctoral student in Art History at the University of Essex. Her current research focuses on contemporary art and curatorship. Previously, she was an assistant curator for Between Construction and Appropriation: Antonio Dias, Geraldo de Barros and Rubens Gerchman in the 60s (SESC Pinheiros, São Paulo, Brazil, 2018), and researcher/assistant curator for Ready Made in Brasil(Centro Cultural Fiesp, São Paulo, Brazil, 2017); Rever_Augusto de Campos (SESC Pompeia, São Paulo, Brazil, 2016); and Lina Grafica (SESC Pompeia, São Paulo , Brazil, 2014), among others. She was the head curator for Whereabouts (Zipper Gallery, 2018) with works by David Almeida; Mirages (Baro Gallery, 2018) with works by Amanda Mei; and Small Formats (Baro Gallery, 2018) with works by Alexandre Wagner, to name a few. She also writes critical texts for different media outlets. Since 2014, she has been a participant in Sem Titulo, s.d., a production and research collective focused on contemporary art with whom she organized the exhibitions What is not performance? (Centro Universitário Maria Antonia, São Paulo, Brazil, 2015) and Tuiuiu, with works by Alice Shintani (ABER, São Paulo, Brazil, 2017). She is an assistant curator at the 34th Bienal de São Paulo, 2021.

Liene Bosquê

Liene Bosquê is a visual artist and art educator based in Miami, born in Brazil. Bosquê’s installations, sculptures, site-specific projects, as well as social engaged practice works have been have been exhibited in museums and galleries In the United States at MoMA PS1 in New York (2015), Museum of Contemporary Photography in Chicago (2013), Museum of Contemporary Art of North Miami (2020), among other places. Her artworks were also included in international exhibitions in Brazil, Portugal, Italy, Turkey, and South Korea; at places such as Museu de História Natural in Lisbon (2007), Museu de Arte de Ribeirão Preto (2006), and Sesc in São Paulo (2018).
In 2019 Bosquê received the Ellies Creator Award, Miami’s Visual Arts Awards, and a WaveMaker Grant to present HamacaS Project. First iteration of this social engaged project was shown at MOCA North Miami  during February 2020. Bosquê was an artist in residence at Wave Hill, Bronx and at Queens Museum’s ArtBuilt residency both in New York. In 2016, she received the Emerging Artist Fellowship from the Socrates Sculpture Park in Queens, where she presented her first public sculpture.
Liene Bosquê holds an MFA from the School of the Art Institute of Chicago, a BFA from the São Paulo State University, and a BA in Architecture and Urbanism from Mackenzie University in Brazil, where she is from. She is professor at Florida International University in Miami. 

Andrea Tavares

Andréa Tavares is an artist and educator from São Paulo, Brazil. She works with graphic languages as drawing and printmaking to create friction between collective and individual memory. Her work has been shown in museums and galleries in Brazil and abroad. In Oficina Cultural Oswald de Andrade (São Paulo), her last show, Anxiety Studio, presented almost one thousand works on paper, part of an extensive archive practice brought together with personal memories and social history.
She is a professor of Drawing, Graphics Languages, and Teaching Practices at FAAP (Armando Alvares Penteado Foundation), in the visual arts faculty, and Coordinator of the postgraduate course (Latu Senso)Contemporary Artistic Practices at the same institution.
She is also one of the coordinators of ILAP Brazil.
She has a bachelor’s degree in Fine Arts from USP (University of São Paulo) and an MFA and a Ph.D. in visual poetics from the same institution.