Visitors 2023

Frances Morris is a curator, writer and broadcaster and currently Director Emerita, Tate Modern 2023 - She was previously Director Tate Modern 2016-2-23 Prior roles include Director International Collections, Tate 2006-2016 and Head of Displays, Tate Modern 2000-2006. Over a long period she has transformed the way the collection is installed at Tate moving from a chronological to thematic framework and broadened the collection to include multiple international and transnational perspectives. She has been a champion of women artists and more recently worked hard to explore and represent first nation artists within the collection an programme at Tate. Major exhibitions include landmark surveys of Louise Bourgeois and Yayoi Kusama. Her most recent exhibition, on view at Tate Modern is Hilma af Klint and Piet Mondrian: Forms of Life, co curated with Briony Fer and Nabila Abdel Nabi. Frances holds a BA from Cambridge University and an MA from the Courtauld Institute. She was born and educated in London. Frances is an Honorary fellow of Kings' College Cambridge and a Guest professor at Shanghai Academy of Fine Art.

Isabella Rjeille is a curator, writer and editor. She works as curator at Museu de Arte de São Paulo Assis Chateaubriand (MASP) and is currently working as co-curator, along with Vivian Crockett, of the Sixth New Museum Triennial, opening in 2026 in New York. At MASP, she has curated monographic and group exhibitions including “Cinthia Marcelle: por via das dúvidas” [By Means of Doubt] (2022), “Maria Martins: Desejo imaginante” [Tropical Fictions] (2021), “Histórias Feministas: artistas depois de 2000” [Feminist Histories: Artists After 2000] (2019), “Lucia Laguna: Vizinhança” [Neighborhood] (2018), and “Tracey Moffatt: Montagens” [Montages] (2017). Previously, Rjeille worked at the Fundação Bienal de São Paulo and served as Curatorial Assistant for the Thirty-Second Bienal de São Paulo, “Incerteza Viva” [Live Uncertainty], in 2016. She has also collaborated with artist-run spaces as well as autonomous cultural centers in São Paulo, such as Casa do Povo, where she served as editor of its publication Nossa Voz [Our Voice] from 2014 to 2020.

Amanda Carneiro is co-editor at the Afterall Journal, assistant curator at the Museu de Arte de São Paulo and artistic organizer of the 60th Biennale di Venezia, 2024. Recently, she has co-organized the exhibitions and catalogs of Abdias Nascimento, Leonor Antunes, and Sonia Gomes, at MASP. Carneiro graduated and holds a master's degree in Social History from the University of São Paulo, where she is a Ph.D. candidate investigating the Second World Black and African Festival of Arts and Culture known as FESTAC' 77. Previously, she worked at Museu Afro Brasil, a museum dedicated to the history and art of the African diaspora, and also as a researcher of the 'Art and Decolonization' a long-term project and a critical forum for cultural theorists, curators, and artists to raise questions and formulate proposals for the reinterpretation of exhibitions and museum collections in non-canonical ways.

João Laia is the Chief Curator for exhibitions at Kiasma – Museum of Contemporary Art (Helsinki), and curator of the 12th edition of Göteborg International Biennial for Contemporary Art (2023). He has a background in social sciences, film theory and contemporary art. Past projects were developed in collaboration with Fondazione Sandretto Re Rebaudengo, Turin; Galeria Municipal do Porto; La Casa Encendida, Madrid; MAAT – Museum for Art, Architecture and Technology, Lisbon; Moscow Young Art Biennial, MMOMA; Whitechapel Gallery, London; Videobrasil, SESC Pompeia, São Paulo. He edited Living Encounters (Kiasma/Mousse, 2022) and A Multiple Community (SESC, 2018) and has been published in magazines such as Art Monthly, Flash Art, frieze, Mousse, Spike and Terremoto. Together with Valentinas Klimašauskas, Laia curated the fourteenth Baltic Triennial (2021) titled The Endless Frontier at the CAC – Contemporary Art Centre, Vilnius, and in 2024 Klimašauskas and Laia will curate the Lithuanian Pavilion at the 60th Venice Biennale showcasing the artist duo Pakui Hardware.

Xenia Benivolski curates, writes, and lectures about sound, music, and visual art. Her writing appears in art publications and academic journals such as e-flux journal, Artforum, Art-Agenda, Infrasonica, and Flash Art. She is editor and curator of You Can’t Trust Music at e-flux.com, a research project connecting sound-based artists, musicians, and writers to explore together the way that landscape, acoustics, and musical thought contribute to the formation of social and political structures. Xenia contributes to the Worker as Futurist project at Lakehead University.

Evelyn Raudsepp is a Tallinn-based curator and producer for performing and visual arts, interested in cross-disciplinary projects and experimental formats. She received a Bachelor Degree in theatre studies in University of Tartu and Master’s Degree in art studies in Estonian Academy of Art. She is currently working as a creative producer for Independent Dance Stage (STL) and creative producer in EKKM; also working with independent visual art projects relevant to her research area.

Henri Hütt is an artist and curator whose creative spectre centres around technological performative acts, staged exhibitions, performative installations/installative performances, post-dance concepts and other "not there yet" formats. He has directed pieces where all (local) theatres are together and also pieces where one can focus on minimalistic microtonal afterlife.

Henri Hütt is an artist and curator whose creative spectre centres around technological performative acts, staged exhibitions, performative installations/installative performances, post-dance concepts and other "not there yet" formats. He has directed pieces where all (local) theatres are together and also pieces where one can focus on minimalistic microtonal afterlife.

Pablo José Ramírez is a curator and author living in Berlin. He was the inaugural Adjunct Curator of First Nations and Indigenous Art at Tate Modern (2019-2023). His work explores non-western ontologies, brown and indigenous histories; and the politics of non-colonial aesthetics. He holds an MA in Contemporary Art Theory from Goldsmiths, University of London. In 2015 he co-curated the 19th Bienal Paiz: Trans-visible with Cecilia Fajardo-Hill. Ramírez was the recipient of the 2019 Independent Curators International/CPPC Award for Central America and the Caribbean and is currently the Editor in Chief and co-founder of Infrasonica, a curatorial platform dedicated to the research around non-western sonic cultures. Ramírez has lectured for the Museo Centro de Arte Reina Sofia, MUAC, Museo de Arte Moderno de Medellin, Gasworks, ParaSite, Kunstintituut Melly and a number of academic institutions, including the University of Cambridge, Simon Fraser University, The New School and The University of Cape Town. He has published extensively including pieces for Artforum, e-flux, Arts of the Working Class, Artishock and a number of museum catalogues and books. Ramírez was part of the curatorial team of the 58th Carnegie International and is currently co-curator with Diana Nawi of the Hammer Museum Biennale, 'Made in LA 2023: Acts of Living'.

Miguel A. López is a writer and curator. In his practice, he focuses on the role of art in politics and public life, collective work and collaborative dynamics, and queer and feminist rewritings of history. He is the Curator for the 2024 edition of the Toronto Biennial of Art. From 2015 to 2020, he worked as Chief curator, and later Co-director at TEOR/éTica, Costa Rica. In 2019, he curated the retrospective exhibition “Cecilia Vicuña: Seehearing the Enlightened Failure” at the Witte de With (now Kunstinstituut Melly), Rotterdam, which travelled to Mexico City, Madrid, and Bogota.. His texts have been published in journals such as Afterall, Artforum, e-flux Journal, Art in America, Journal of Visual Culture, Manifesta Journal. He was a recipient of the 2016 ICI’s Independent Vision Curatorial Award.

Dominique Fontaine is curator for the 2024 Toronto Biennial of Art (TBA). She graduated in visual arts and arts administration from the University of Ottawa (Canada), and completed De Appel Curatorial Programme (Amsterdam, the Netherlands).

Dominique’s recent projects include Imaginaires souverains, Le présent, modes d’emploi, Maison de la culture Janine-Sutto; Foire en art actuel de Québec 2020; Here We Are Here: Black Canadian Contemporary Art; Dineo Seshee Bopape: and- in. the light of this._______, Darling Foundry; Repérages ou À la découverte de notre monde ou Sans titre, articule; Between the earth and the sky, the possibility of everything, Scotiabank Nuit Blanche Toronto 2014. She is co-editor of the recent publication Making History: Visual Arts and Blackness in Canada.

Dominique Fontaine is curator for the 2024 Toronto Biennial of Art (TBA). She graduated in visual arts and arts administration from the University of Ottawa (Canada), and completed De Appel Curatorial Programme (Amsterdam, the Netherlands).

Dominique’s recent projects include Imaginaires souverains, Le présent, modes d’emploi, Maison de la culture Janine-Sutto; Foire en art actuel de Québec 2020; Here We Are Here: Black Canadian Contemporary Art; Dineo Seshee Bopape: and- in. the light of this._______, Darling Foundry; Repérages ou À la découverte de notre monde ou Sans titre, articule; Between the earth and the sky, the possibility of everything, Scotiabank Nuit Blanche Toronto 2014. She is co-editor of the recent publication Making History: Visual Arts and Blackness in Canada.

Dominique is co-initiator of the Black Curators Forum; is a member of AICA-Canada, the American Association of Museum Curators (AAMC,) and of the International Contemporary Art Curators Association (IKT); and is also part of Intervals Collective. Dominique Fontaine is laureate of Black History Month of the City of Montreal 2021.