born in Athens, lives and works in Brussels
Katerina Gregos (born in Athens, Greece) is an art historian, curator and writer based in Brussels since 2006. She is currently curator of the exhibition Personne et les autres: Vincent Meessen and guests for the Belgian Pavilion at the 56th Venice Biennale as well as curator of main exhibition of the 5th edition of the Thessaloniki Biennial, entitled Between the Pessimism of the Intellect and the Optimism of the Will.
She has curated numerous other major exhibitions, including, more recently: No Country for Young Men: Contemporary Greek Art in Times of Crisis at BOZAR, Brussels, 2014 (which was selected by the German art magazine Monopol as one of the best exhibitions of the year); The Politics of Play for the Göteborg International Biennial for Contemporary Art in Sweden, and Liquid Assets: In the Aftermath of the Transformation of Capital for the Steirischer Herbst, Graz, Austria (as co-curator), both in 2013; Newtopia: The State of Human Rights, at several venues in Mechelen & Brussels; and Manifesta 9 (as co-curator), in Genk, Belgium, in 2012. In 2011 she curated Speech Matters the critically acclaimed exhibition for the Danish Pavilion at the 54th Venice Biennial, and co-curated The Eye is a Lonely Hunter, the 4th Fotofestival Mannheim Ludwighsafen Heidelberg,Germany.
Katerina Gregos was founding director and curator of the Deste Foundation’s Centre for Contemporary Art in Athens (1997-2002) and Artistic Director of Argos Centre for Art and Media, Brussels (2006 & 2007). Currently she is also artistic director of Art Brussels. Gregos regularly publishes on art and artists in exhibition catalogues, journals and magazines, and is a visiting lecturer at several art academies, including the HISK Higher Institute of Arts in Ghent, where she also curated the 2013 laureate exhibition, Portrait of the Artist: Works and References. She is also a frequent speaker at international conferences and symposia. Recently, she was a guest at the TEDx lecture series, Gent.
Photo (c) david plas
Exhibition: It's Money Jim, but not as we know it