Muna Cann

Cultural mediator with bachelor and masters by La Sorbone and curatorial labor. With more than 10 years experience in art museums learning fields.



I’m a creative, innovative, mediator, and pedagogical curator, with over 10 years of experience in art museum learning and education fields, community engagement and mediation strategies, in contemporary art and culture. I speak French, English and my mother tongue, Spanish.

Through my master’s degree in Cultural Mediation and Communication from Paris 1 Panthéon-Sorbonne, I acquired a unique experience in French School of Cultural and Art Mediation, which I’ve applied and assessed in profit and non-for-profit initiatives. I also got a master’s degree in Art History and Curatorship Studies from the Faculty of Philosophy and Literature in UNAM.


From 2009 to 2017, I designed, developed and directed the Education and Learning Department (Departamento de Enlace y Mediación) of MUAC – University Museum of Contemporary Art, in Mexico City, for nearly 10 years. In this period, I curated, designed, developed, implemented and assessed the awarded program – MUAC en tu casa (MUAC at home)with the Ibermuseus Prize in its 5thedition (2015). This program is based on learning through art and immersive experiences with artists and art works from the museum´s collection, displayed in student houses, in disadvantaged communities in México City.

Also, I created the Volunteer and Internship Program at MUAC, with 150 members per year, as well as Periscopio(Periscope)a multimedia mediation tool for all kinds of audiences.

I conducted visitor research, evaluation and application of the research findings in order to foster audience growth and engagement.


Since 2013 I’ve worked with international renown contemporary artist Gustavo Artigas, to create Alteragenda,a private initiative to facilitate access to contemporary art and its local entourage through immersive experiences, customized and exclusive activities, including creative educational methods.


In 2018 I moved to Toronto with my family to continue my research and work in contemporary art mediation strategies, and co-created, with Gustavo Artigas, the Canadian corporation Art Links Inc.


Gustavo Artigas

International award winning contemporary artist with participation in important Biennials and shows around the world for the last 25 years. His Canadian experience includes shows at A-Space, Mercer Union, Le Mois de la Photo a Montreal, Sur Gallery. And the Banff Centre for the Arts.






Fragments of text by Ximena Berecochea, Director of ICE: Institute for Creative Exchange, Toronto)

“Some artists find an expression that develops quickly and remain on the same creative path. Others reach certain work maturity and then break new ground and seem to start again. They experiment and take risks trying out different routes. The development of Gustavo Artigas’ work is within this second group of artists. His work reveals an interesting process, it is like a journey where you change course to a new destination when the visited territory becomes too conventional, or when personal optics find no further space where and how to resound.


Artigas is part of a generation emerged in Mexico in the 90’s as the result of a group of young, vastly productive people, and a community that, for the first time, showed a generalized interest in contemporary art in the country. The work of this generation has a special relevance, since it contributed to an important change in the practice as well as in the international presence of Mexican contemporary art. This group of artists took part in a number of creative production and dissemination spaces, which completely broke with the accepted discourse of previous generations. Among these personalities, in addition to Artigas, we find visual artists who, like him, have a preponderant participation in the international artistic scene of today. To mention a few names, we have Gabriel Orozco, Teresa Margolles, Damián Ortega and Carlos Amorales. Exposed to the emergence of new techniques, new ideas and exchanges with the global art world, this group was fundamental to the evolution of the dialogue that Mexican art held with tradition, with institutions and with the dissemination spaces of cultural products.


Artigas has had a very diverse career, not only in terms of themes but also in terms of forms. In his work we see different elements, from the creation of machines that imitate human actions, a film projected on a sand curtain, speakers with dialogues between Tzeltal, Tzotzil and Innuit indigenous groups, to actions in which he represents conceptual reflections through people. His work with actions takes on greater physical dimensions in his pieces of games, as we can see in “The Rules of the Game” presented at the Venice Biennale in 2001,where he leads us to think about the notions of coexistence, political and geographical limits.

A year ago, while giving a workshop with us here at ICE, Artigas told us that on a trip through Russia, he found a statue of a Russian soldier in a park. This statue was stained because they had thrown a bucket of red paint on it. Artigas took a photograph of this sculpture and digitally separated the red paint from the object. In doing this, he wonders, what happens if I separate this paint blasted from the object? It happens, Artigas replies, that it is just a form of gesture. Gustavo then transfers this thought to the artistic production and wonders if the same thing happens in the creation of a piece of art; if art is not just a mere gesture.

After having developed so many pieces with a conceptual basis, the real function of the argumentative foundation of art is questioned and the attention turns to the form….”