Luiza Proença is a contemporary art writer, editor and curator based in São Paulo, Brazil. She is the former curator of mediation and public programmes of the Museu de Arte de São Paulo, where she co-organised numerous projects such as the exhibitions Art from Brazil in 20th Century (2015), Histories of Madness: Drawings from Juquery (2015), Playgrounds (2016), and Avenida Paulista (2017); the international seminars Politics of Mediation (2015 and 2016), Histories of Sexuality (2016 and 2017), and Histories of Slavery (2016); and the book Concrete and Crystal: MASP's Collection on Lina Bo Bardi's Easels (2015). Together with a team of educators, activists, artists, and critical thinkers, she curated a series of programmes that sought to connect the museum with different cultural practitioners and social movements, and to break down hierarchies between ways of doing, languages, and knowledge.
Prior to MASP, she was associate curator at the 31st Bienal de São Paulo – How to (...) things that don't exist (2014), along with Galit Eilat, Nuria Enguita Mayo, Charles Esche, Pablo Lafuente, Oren Sagiv, and Benjamin Seroussi; and was the editor of publications of the 9th Bienal do Mercosul | Porto Alegre – Weather Permitting (2013), directed by Sofía Hernández Chong Cuy. She also worked as a curator in projects at Instituto Lina Bo and P.M. Bardi, Itaú Cultural, Centro Cultural São Paulo, Paço das Artes, Instituto Cervantes, The Jewish Museum NYC, Museu de Arte da Pampulha, SESC-SP, among others. Her writing has appeared in various catalogues and journals, including South as a State of Mind and Caderno Videobrasil. Proença is a member of Another Roadmap School, an international association of practitioners and researchers working towards art education as an engaged practice in museums, cultural institutions, educational centres and grass-roots organisations. She is interested in forms of artistic/cultural labour, political action, and collective learning.