Hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.
The Curatorial Roundtable, an international forum for curators and institutional leaders to discuss formative and current projects, is hosted by Steven Henry Madoff, Founding Chair of the MA Curatorial Practice at the School of Visual Arts in New York City.
Natalia Sielewicz is an art historian and writer, currently serving as Chief Curator at the Museum of Modern Art in Warsaw. Over the past twelve years, she has curated numerous exhibitions at the museum, most recently Maria Jarema. Cracked Modernism (2026, with Éric de Chassey). In 2026, she curated the Estonian pavilion at the 61st Venice Biennale, featuring the work of painter Merike Estna. Next year, together with Nikita Kadan, she will co-curate the Baltic Triennial. Her writing and curatorial practice often interrogate feminism, affective politics, and the technological conditions shaping contemporary subjectivity. She is currently working on a large-scale group show for the museum, exploring panic as the dominant condition of perception and action, creating fertile ground for the consolidation of authoritarian and populist forms of power.
Natalia Sielewicz will speak about two exhibitions: Private Settings: Art After the Internet (2014), her first major exhibition at Muzeum Stuki. It was an important generational moment for her, bringing together a remarkable group of international artists in the museum’s former home—a now-demolished modernist pavilion. The exhibition became a reflection on digital culture at a moment when the internet was fundamentally reshaping the production and circulation of images, identities, and desire.
The second exhibition is Paint, Also Known As Blood: Women, Painting and Desire (2019), which opened at the museum at the height of the pro-choice protests in Poland. Bringing together the work of fifty women painters, it was the first exhibition of its kind in Poland, and arguably one of the first in Europe to examine painting through the intertwined lenses of gender, embodiment, desire, and political agency.