Maria Bojan

Maria Bojan is a curator and cultural practitioner whose work explores contemporary art and international collaboration. Working across exhibitions and programming, she engages with artists and institutions across Europe, Asia, and Africa. Bojan fosters dialogue around authorship, cultural narratives, and artistic exchange.

Maria Bojan is a curator and cultural practitioner, and the founder of MB Art Agency, a platform dedicated to developing international exhibitions, cultural projects, and strategic collaborations in contemporary art. Her work focuses on fostering dialogue across artistic communities and supporting artists working within increasingly interconnected global contexts.

Through MB Art Agency, Bojan has worked with artists, institutions, and collectors across Europe, Asia, and Africa, developing exhibitions and curatorial programmes that explore cultural narratives, artistic authorship, and the circulation of ideas within the global art world. Her practice is particularly interested in how curatorial frameworks shape the interpretation and presentation of contemporary art across different cultural environments.

Bojan’s projects often examine the relationships between artists, institutions, and audiences, reflecting on how cultural context and institutional structures influence artistic production and reception. By facilitating collaborations across regions and disciplines, she aims to create platforms that allow artists to engage with one another beyond traditional geographic or institutional boundaries.

On the Pearl Lam Podcast, Pearl Lam sits down with Bojan alongside artist Alimi Adewale to reflect on the evolving dynamics shaping contemporary art today. Their discussion explores questions of authorship, cultural context, and the frameworks that continue to define how art is produced and interpreted globally. They reflect on the legacy of the Western tradition of “art for art’s sake,” and the expectation that artists align themselves with clearly defined cultural or political positions.

The conversation also considers how taste and institutional influence have historically shaped the artistic canon, while examining the persistent “fetish of authenticity” that often frames the reception of non-Western artists within international art discourse. Looking beyond these inherited structures, the dialogue reflects on what it means for artists working across China, Africa, Europe, and elsewhere to engage with one another through shared ideas, artistic rigour, and evolving forms of cultural exchange.

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