Born and raised in Warsaw, Poland, Dorota Biczel is currently a doctoral candidate at the Center for Latin American Visual Studies (CLAVIS) at the Department of Art and Art History at The University of Texas at Austin. She holds a dual MA in art history, theory, and criticism, and arts administration and policy from the School of the Art Institute of Chicago, which she earned in 2010.
Dorota’s research revolves around the issues of the intersections of avant-garde artistic traditions and visual culture, and production of political subjectivities. In this context, she investigates community building, “public sphere” and public space, and art historiographies in the context of so-called “democratic transitions,” with the special focus on Latin America and Eastern Europe. Her dissertation focuses on artistic and architectural experimental practice and the notions of the public in Lima, Peru, between 1978 and 1989.
She has published numerous articles and essays, most recently, in the journals Buildings & Landscapes and ARARA, and in the exhibition catalogues Líneas, palabras, cosas: Luz María Bedoya (Lima: Instituto Cultural Peruano Norteamericano, 2014) and Perder la forma humana (Madrid: Museo Nacional Centro de Arte Reina Sofía, 2013). In 2011, together with Miguel López and Emilio Tarazona, she curated the retrospective exhibition Teresa Burga’s Chronology: Reports, Diagrams, Intervals at Württembergisher Kunstverein Stuttgart. She also regularly writes art criticism for the Houston-based magazine Glasstire.