PhD candidate at the Universitat de Barcelona with a fellowship from the Spanish Ministry of Science and Innovation, linked to the research project Decentralized Modernities: Art, Politics and Counterculture in the Transatlantic Axis during the Cold War. She researches the transformation of the biennial model and transnational networks between biennials in Latin America, the Caribbean and Europe between 1970 and 1991.
She graduated cum laude in Conservation of Cultural Heritage (Ca’ Foscari University of Venice, 2010), and holds a MA in Contemporary Art History and Visual Culture (Complutense University of Madrid, 2011) and a MA in History of Arts (Ca’ Foscari University of Venice, 2014).
She worked as a documentalist for the exhibition España. Vanguardia artística y realidad social: 1936-1976 (Institut Valencià d’Art Modern – IVAM) and as a cultural mediator in Making Worlds (53rd Venice Biennale).
She has published essays and articles in academic publications and has participated in national and international congresses.
Orzes, Anita, “Curatorial Networks: The Havana Biennial and the Biennials in the South” en Richter, Dorothee; Patel, Shwetal; Kolb, Ronald (eds.), “Contemporary Art Biennials – our hegemonic machines in states of emergency”, OnCurating, 46, 2020, pp. 136-145.
Orzes, Anita, “Padiglioni che denunciano, riflettono ed astraggono: un’analisi critica e trasversale della partecipazione spagnola alla Biennale di Venezia (2003-2011)”, en Portinari, Stefania, Stringa, Nico (eds.), “Storie della Biennale di Venezia”, Storie dell’arte contemporanea, 4: 1, 2019, pp. 353 – 374.
Orzes, Anita, “‘Better to be a dog in a peaceful time, than to be a human in a chaotic period’. América latina y caribe en la 58ª Bienal de Venecia”, Red de Estudios Visuales Latinoamericanos, 9 de agosto de 2019.
Orzes, Anita “XIII Bienal de La Habana: soyez réalistes, demandez l’impossible”, Exit, 6 de mayo de 2019.
Orzes, Anita, “La Bienal de Venecia y sus ciudades”, Anales de Historia del Arte, 24, 2014, pp. 201-220.