Élisa Ganivet is Doctor of Philosophy, Art Historian, Documentary and Cultural Engineer. She began her career as a cultural manager in 2003, organizing art exhibitions such as “Rembrandt: An Inspiration for Goya”, “Calder, The Form and the Dream”, “Picasso, Tribute to a Bullfighter”, “Miró, Garden of the Wonderful Things”, “Passionate Dali”.

Along with the Great Modern Masters, Dr. Ganivet’s vocation is to promote events for contemporary artists who’s work is aligned with her own research on Utopia and Borders. 


Personal Statements

Arts Management 

My mission is to mediate between communication, art and innovation. The expectations of the audience have to be exceeded while the essence of each event must remain true. Professionalism and passion are the keys to the success. Above all I recognize that art is a universal and powerful language as well as a means of communication par excellence.

Curatorial Research

Since 2003, my research has explored the theme of utopia. I am interested in the mechanisms, either through an idea or a practice. The frame changes (utopian city in India, post-Franco Spain, gentrification in Berlin, inspiration in Tangier...) but exploration remains the same.

My PhD allowed me to develop some specific aesthetic theories about the border walls and issues related to international borders in this so called globalized world.

My work integrates both fields together for an exploration of the device of the practical (the border wall) and utopian (aesthetically ideal) boundaries. My line of thinking is this precise gap. It is in this sense that artists may play a full role. Through their artistic practices, they can reach or even transgress some limits, while potentially stimulating other concepts. My curatorial proposals play upstream on this issue of utopian borders.

Furthermore, I conceive the exhibition as a subjective map. Artworks shape territories for which the public is invited to discover and to make their way through. My motto would be this Deleuzian transposition: “All work includes a plurality of paths, which are readable and do coexist on a map, and changes direction according to those selected.” In this way, the cartography of the exhibition is modulated according to each need and context. A layout of artworks shapes a map in which one can be stimulated in a dynamic of action-reaction-interaction-pause: as the landscape can influence whoever visits it.