About me
Hi, my name is Frida and I am a graduate of the MA program in Cultural Studies at Goldsmiths, University of London.
My studies focused on different subjects and theories within the humanities such as history, sociological science, media studies and philosophy. I have chosen to focus most of my research on cultural organisation, visual culture, sociology and management and am interested in both popular and "high" culture within the cultural industry and everyday life.
I have significant experience in organisation and research in academic and non-academic organisations across the arts and music (management and curation).
Projects
- Rise or Fall: NFTs, Artworks, and the Future of Decentralisation in the Art MarketAt the fifth Arts & Cultural Management Conference I got invited as a Speaker to present the research I covered in my postgraduate dissertation concerned with NFTs, Art, and the Metaverse. I showed in my presentation that contrast and opposition are inherent to NFTs and that their distribution and access are trapped between scarcity and abundance. As collectables they can have a democratising effect, at least for certain groups of people, creating an environment where more and diverse voices can
Work history
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Global Business Development ExecutiveDentsu
London, United KingdomFull Time
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Curatorial InternADORNO
London, United KingdomInternship
- Analysing cultural scenes and their makers
- Taking part in inviting new makers to become members of ADORNO
- Writing features about specific makers, published on ADORNO Editorial
- Analysing the performance of existing members in terms of views and sales
- Participating in and contributing to ADORNO’s online production and curation meetings
- Setting up and participating in video calls with existing and new makers and studio members of ADORNO
- Administrating ADORNO’s current and new memberships
- Updating the designer profiles online with accurate information
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Skills
- Project Management
- Art Curation
- Research
- Marketing Strategy
- Event Organisation
- Microsoft Office
- Social Media Marketing
- Public Speaking
- Market Research
- Analytic Skills
Education
Master of ArtsGoldsmiths, University of London
- London, United Kingdom
Activities and societies: Member of the Visual Culture Society - Explored galleries and exhibitions in London, and engaged in interesting discussions with my fellow students
- Interdisciplinary course exploring different aspects of everyday culture and cultural institutions and practices regarding questions of gender, race, class, and power
- Focus: Promotional culture, modern and contemporary art practices, media technologies, the creative industries, and audience participation
- Additionally, I audited two modules on modern and contemporary art and curatorial practices
- Thesis: ‘NFT Artworks, Blockchain, and the Future of Decentralisation in the Art Market’
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Bachelor of Arts (BA) Leuphana University Lüneburg
- Lüneburg, Germany
- Contained the in-depth exploration of major concepts in the humanities, like social sciences, philosophy, and history concerned with culture in the broader sense of the word
- Focus: Arts and visual culture (contemporary and modern positions and the sociology of the art market), and cultural organisation and communication - Minor in Corporate and Business Law
- Thesis and colloquium: ‘Discipline and Exhibit – Michel Foucault’s Concept of Power and the Curation of Ethnological Objects’ (Distinction)
Awards
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Best Research Article Award 2020Journal of Cultural Management and Cultural Policy
Gaupp, L. & Abramjan, A. & Akinay, F. M. et al (2020), 'Curatorial Practices of the ‘Global’: Toward a Decolonial Turn in Museums in Berlin and Hamburg?'
'This empirical mixed-methods study examines how different notions of the ‘global’ are curated in so- called ‘global’ visual arts in northern Germany. Decolonial aesthetics, postcolonial thought, and the provenance of exhibition objects have challenged the legitimacy of German museums and have triggered a debate on their Eurocentric perspective, their situatedness, the differentiation between artefact and artwork, and the reproduction of colonial thinking and patterns of domination. Although a critical turn in current curatorial practice can be observed, it is not clear whether this change is the result of a genuine effort to decolonize art organizations. In this regard, the potentials, restrictions and applications of academic concepts such as “anti-racist” or “postcolonial curating” are discussed. This study found indications of a decolonial turn in a predominantly White European curatorial practice and emphasizes the need for further changes to this context.'