Julia Geerlings (born 1985, Amsterdam) is an independent curator and writer based in Amsterdam and Paris. Geerlings studied Art History at the Vrije Universiteit Amsterdam and at the Freie Universität in Berlin. She contributes regularly to magazines and publications and was a guest editor for Metropolis M (‘No Longer art’ issue 2015 no.3). Geerlings focuses on the presentation of contemporary art in unusual locations, such as a medieval church, brutalist church, canal house, garage, shop window and a former WWI military fort. In her curatorial practice the location and context (social, economic and political aspects) are considered in the exhibition concept.

She organized exhibitions and performances at Oude Kerk in Amsterdam (Nachtelijke Dwalingen, 2013 – 2016), Galerie van Gelder (Amalgam, Ali, Nino and the Numbers, and Klucht van de jacht, 2014), Thomaskerk Amsterdam (Rites de Passage, Longing for an image and Hocus pocus, Hoc est corpus, 2013-2015), Le Moinsun in Paris (Axis Mundi, art as a healing tool, 2015), After Hours in Sèvres (L’Eau à la bouche, 2015), Kunstfort bij Vijfhuizen (The Prophecy of Bees and Bedazzle, 2016), graphic design graduation exhibitions at HKU University of the arts in Utrecht (2016 & 2017), Le Cyclop in Milly-la-Forêt (Hypnerotomachia, 2017) and Thkio Ppalies in Nicosia (Communicating Vessels, 2017).

Geerlings was a curator-in-residence at Rupert in Vilnius (2015), Across in Nice (2017) and International Studio and Curatorial Program (ISCP) in New York (2016-2017 supported by the Mondriaan Fund) and she’s now in residence at Mains d’Œuvres. She is currently guest tutor at HKU University of the Arts Utrecht, advisor for Amsterdam Fund for the Arts (AFK) and for the O&O subsidy CBK Rotterdam, is a guest curator at De Vleeshal Middelburg and is co-curating the second triennial of Beetsterzwaag at Kunsthuis SYB together with Niekolaas Johannes Lekkerkerk

Contact: julia.geerlings@gmail.com

FR: ‭+33601057407

Studio 16 – MAINS D’ŒUVRES – 1 Rue Charles Garnier, 93400 Saint-Ouen

 this website is generously supported by the Mondriaan Fund