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Art Basel announces film curator and art lecturer Maxa Zoller as the new Curator of Film Sector
Maxa Zoller is a film curator and art lecturer based in Cairo.
BASEL.- Art Basel has announced Maxa Zoller as the new curator of Art Basel’s Film sector in Basel.

Maxa Zoller will curate Film in Basel for the first time in 2015, taking over from Marc Glöde, who has curated the Art Basel Film program in Basel since 2008. This Brunner, curator of Art Basel's Film sector since 1992, and Film curator for Art Basel in Miami Beach since 2002, will continue in his role and will work alongside Zoller.

Maxa Zoller is a film curator and art lecturer based in Cairo. Zoller has presented experimental film screenings at Tate Modern, South London Gallery, Filmmuseum Munich and the Centre of Contemporary Art Geneva. Currently, she is co-curating a solo exhibition of Anthony McCall at EYE Filmmuseum, Amsterdam.

A former lecturer at Goldsmiths College and Sotheby’s Institute of Art, Maxa Zoller developed a keen interest in alternative pedagogical tools; she created the workshop series The Cinematic Body, which was presented in different contexts in Oslo, Vienna, Munich and Cairo. Zoller collaborates closely with the artist-run space in London, where she led the first edition of the summer school in 2012.

Maxa Zoller has a keen interest in marginal and interdisciplinary film practices, which focus around issues of the body, expanded cinema, the practice of female filmmakers, and experimental film from former Socialist countries.

Maxa Zoller commented: ‘The moving image, its histories and theories, are my passion and I look forward to bringing a diverse and challenging selection of films to Basel. My vision for the future Art Basel film program is based on my experience in curating experimental film screenings for a wide range of audiences and contexts including artist-run spaces, galleries and museums. Film in Basel is a fantastic opportunity to unfold a dialogue about the medium, whether analogue or digital, its different languages and aesthetics, political roots and discursive horizons. I am excited about this new position and hope that the films will generate interesting discussions about the future potential of the moving image in contemporary art.

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