About Élisa Ganivet She is a doctor of philosophy, art historian and cultural manager. She works in this field as a consultant and creative thinker for international private and public organizations. Elisa began her career organizing art exhibitions of great masters such as Rembrandt, Goya, Calder, Miró, Picasso… Based on her PhD and expertise, her latest book Border Wall Aesthetics, Artworks in Border spaces has been published by Transcript Verlag / Columbia University Press. Her 360 degree view aims to defend the Art as common cause & core value.  

Here some happy & satisfied professional Partners ADIAF, Marcel Duchamp Prize ; Museu Picasso, Barcelona, Spain ; Kader Attia Studio, Berlin, Germany ; Artpress ; Arthemisia Group Srl, Italy ; Hennessy (LVMH France) ; EUNIC European Union National Institutes for Culture ; Institut Français, Marrakech, Morocco ; KW Institute for Contemporary Art, Berlin, Germany ; Apexart, New-York, USA ; Fineartmultiple TM ; Staatliche Museen zu Berlin - Preußischer Kulturbesitz, Germany ; among others public & private arts and cultural organizations.


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 (long fieldworks abroad) 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.