Veronica Valentini is a curator, cultural strategist, educator and researcher working across contemporary art, cultural institutions and independent initiatives. Her practice brings together curatorial work, research, education, international programmes, publishing and collaborative forms of cultural production. She is interested in how art and cultural institutions can generate new relationships between people, territories and forms of knowledge, and in developing practices that respond critically to changing social, political and ecological contexts.
She is co- founding director of BAR Project, an independent curatorial and educational initiative, where she develops programmes connecting curatorial practice, artistic research and collective learning. She has also designed and contributed to seminars, workshops, mentoring programmes and public programmes in collaboration with cultural institutions and international partners. Since 2022, Valentini has been responsible for International Residency and Research Programmes at Hangar, Barcelona, where she develops international collaborations, residency programmes and research networks connecting artists and cultural practitioners across different contexts. As a co-founding mediator for Concomitentes, part of the European New Patrons network, she currently develops Parlamento del Mar, a long-term artistic and participatory project in Barcelona bringing together artists, marine scientists, local communities and cultural organisations.
She studied Fine Arts and Artistic and Historical Heritage in Italy, Theory, Cultural Studies and Museum Studies in France, the Independent Studies Programme (PEI) at MACBA in Spain, directed by Paul B. Preciado, and Curating and Commissioning Public Art at Valand Academy in Gothenburg, Sweden. Alongside her curatorial, educational and institutional work, Valentini develops editorial and research projects. Her recent and forthcoming publications include Bailando la diversidad. Gestos y afectos para el encuentro entre cuerpos diversos (Bartlebooth), Reciprocitat. Les pràctiques institucionals i artístiques com a metàfora del miceli (2026), and Infrastructures of Relation, an editorial project for A*DESK (2026).
Her curatorial practice has developed through international exhibitions, research projects and institutional collaborations. In 2014, she was one of the curators of the 2nd CAFAM Biennale, The Invisible Hand: Curating as Gesture, at the CAFA Art Museum in Beijing, where she curated On Ambiguity and Other Forms to Play With. Her other curatorial projects include Sindrome italiana at Le Magasin–CNAC, Grenoble. Her work has since continued to move between exhibition-making, research, education and the development of cultural infrastructures and international networks.