Curating Tools with An Paenhuysen: How To Write Art Criticism Creatively

What role does personal experience play in art writing? How can collaboration enrich the process of curating and critiquing art? How does art criticism evolve in the digital age? Is art criticism dead? 

Listen to the free version of this episode on Spotify, Amazon Podcasts, or Apple podcasts.

CFC members can access an exclusive extended version of this episode at the end of this post.

About this episode

In this engaging episode of Curating Tools Podcast, we delve into the world of art writing with the insightful curator, writer, and art critic An Paenhuysen. An shares her journey from academia to the contemporary art world, highlighting her innovative approach to art criticism and writing.

​​Find out what’s in store at the Creative Art Criticism and Writing course Node Center for Curatorial Studies and learn how to creatively reshape historic archives through curatorial practices.

This podcast is brought to you by Call for Curators, providing professional art opportunities since 2012, and Node Center for Curatorial Studies, the pioneering e-learning platform for curators and art professionals founded in 2009.

About our guest

An Paenhuysen is a curator, writer and art critic in Berlin. After completing her doctorate in cultural history, she started her curatorial career at Hamburger Bahnhof, Museum of Contemporary Art, Berlin. From 2019 to 2022 she was the director of The House of The Deadly Doris, where she organised eventualities to activate its 1980s punk archive. 

An is a fan of the small format and in 2020 she founded the publishing project AAAAA PPPPP Publishing for short format art writing. She is part of the collective minìsae that bridges the disciplines of writing, visual arts, somatics, and dance.

Meet our host

Our host ⁠Maria Cynkier⁠ is an independent curator and researcher working in the fields of art, ecology and digital culture. In her practice, she is concerned with the social, political and material impacts of new technologies on humans, non-humans and the environment. She often works within the framework of speculative storytelling and worldbuilding tactics that enable critical dialogue.

Listen to the extended CFC Members’ version: