Maite Garbayo Maeztu

Maite Garbayo Maeztu is a researcher and exhibition curator. She holds a PhD in Research and Creation in Art from the University of the Basque Country, with an Extraordinary Doctorate Award and International Mention, and a Master’s degree in Art History from the National Autonomous University of Mexico (UNAM).

Until 2018, she held a full-time academic position in the Department of Art at Universidad Iberoamericana in Mexico. Previously, she worked as a postdoctoral researcher at UNAM’s Institute of Aesthetic Research. Since 2014, she has been a member of the Southern Conceptualisms Network (Red Conceptualismos del Sur).

In 2016, she published her first book, *Cuerpos que aparecen. Performance y feminismos en el tardofranquismo* (consonni; 2nd edition, 2019). She has also published more than sixty articles and book chapters in academic journals and publications, as well as in publications specialising in contemporary art. She has taught at several universities, including the University of the Basque Country, Universidad Iberoamericana, the National Autonomous University of Mexico, and the Public University of Navarre.

She has curated exhibitions including *Dar la oreja, hacer aparecer: cuerpo, acción, feminismos (1966-1979)* at MUSAC (2019) and *Yo, la peor de todas* at the Jorge Oteiza Museum Foundation, the Museum of Navarre, and the Huarte Centre for Contemporary Art (2017). She also curated the public programme *Mugak/Fronteras* at Tabakalera – International Centre for Contemporary Culture (2017).

In 2020, she designed the Master’s Programme in Artistic Practices and Cultural Studies: Body, Affects, Territory, a joint programme of the Public University of Navarre and the University of the Basque Country, of which she is Academic Director.

Her main research interests include contemporary art and gender studies in Spain and Latin America, aesthetic theory, visual culture, and performance studies. Her most recent research examines the presence and absence of the body in performance and its aesthetic and political implications, as well as the importance of the affective turn and performativity in rethinking the production and reception of the visual in contemporary culture.