Visitors 1987

Daniel Milnes (Leeds, UK) studied modern languages at Oxford and art history in Freiburg and St. Petersburg. Since 2023, he has been a curator at DAS MINSK Kunsthaus in Potsdam, where he curated the "Soft Power" exhibition, exploring the political impact of textiles. He began his career at Munich’s Haus der Kunst, contributing to the "Postwar" exhibition and co-curating "Blind Faith". Milnes also curated shows at Hamburger Bahnhof and other institutions, organizing exhibitions with artists like Polina Kanis, Sandra Mujinga, and Raphael Sbrzesny, and was part of the curatorial team for the 12th Kaunas Biennial in 2019.

Photo credit: Clemens Porikys

Liz Park is the Richard Armstrong Curator of Contemporary Art at Carnegie Museum of Art, Pittsburgh, USA, where she is currently working on the reinstallation of the museum’s collection and organizing the 59th Carnegie International in 2026 with co-curators Ryan Inouye and Danielle Jackson. She was most recently curator of exhibitions at the University at Buffalo Art Galleries, State University of New York, and was associate curator of the 2018 Carnegie International. She was the Helena Rubinstein Fellow at the Whitney Independent Study Program (2011–2012) and the Whitney-Lauder Curatorial Fellow at ICA Philadelphia (2013–2015). She received her BFA in visual art and MA in curatorial studies at the University of British Columbia in Vancouver, Canada.

Isra Al Kassi

(UK) is a London based curator, writer and co-founder of T A P E collective; a cross-art curatorial collective on a mission to demystify the industry and to represent could-be-cult classic moving image work through special curation, production and distribution. With a background in events & marketing Isra is also an outreach and audience development consultant, and has a particular interest in mindful audience growth and creating accessible spaces for mixed-heritage storytellers and audiences. Her practice heavily explores spaces, and being inventive in the ways of how things can be displayed and presented. Isra's passion is cross-arts curation centering moving image work and playing with the boundaries of the archive, with the main intention to make it more accessible. Her curatorial background is primarily self-taught, and comes from a desire to create inclusive and alternative spaces and to present experiences and events in alternative spaces. Since co-founding T A P E Collective, Isra continues to develop her practice by always wishing to try new things, and to experiment; pushing the boundaries of traditional ways of curating, and developing ways of curating collaboratively, with peers and a local and global community.

Rose Bouthillier (Canada) is a contemporary art curator and writer based in Newfoundland and Labrador, Canada. Throughout her career, her focus has been on working closely with artists to develop and present new projects, promoting under-recognized voices and creating thoughtful inter-generational dialogues. Bouthillier joined Bonavista Biennale as Artistic Director in April 2022, and co-curated the 2023 edition, Host, with Ryan Rice. The Biennale takes place on Newfoundland’s Bonavista Peninsula, embedding contemporary art in the landscapes, historic spaces and daily places of rural communities. Previously, Bouthillier served as Curator (Exhibitions) at Remai Modern, in Saskatoon, Canada, where she programmed solo exhibitions by Puppies Puppies (Jade Guanaro Kuriki-Olivo), Zadie Xa, and Walter Scott, and the presentation of new works by respectfulchild, Julie Oh, Jeneen Frei Njootli, Faye HeavyShield and Laurie Kang. Her writing has been published in monographs on artists including Tony Lewis, Xavier Cha, Kirk Mangus and Michelle Grabner, as well as in magazines and journals including CURA., C Magazine, BlackFlash, Foam Magazine, esse, and frieze. She is the editor of a forthcoming monograph on Puppies Puppies (Jade Guanaro Kuriki-Olivo), co-published by moCa Cleveland, Remai Modern, and Kunsthaus Glarus.

Kholisile Dhliwayo (Australia / USA) is an African-Australian curator, artist, and architect whose work engages Black Diasporic knowledge systems and cultural practices. Kholisile founded afrOURban, a non-profit organization dedicated to documenting and celebrating Black culture in the diaspora and on the African continent. At afrOURban, he is the curator of Black Diasporas, an oral-narrative mapping project documenting spaces that have meaning to Black people. Black Diasporas has won awards from the Victorian Government (Australia), the New School Good Interventions (USA), and ArchiTeam (Australia) for its innovation and social contributions. Kholisile is a 2023-24 Cheng Fellow with the Social Innovation Change Initiative - Harvard Kennedy School, and a 2023 Center for Architecture Lab Resident, where he curated ‘Making Home: Affirming Black Diasporic Agency’. He co-curated the award-winning Melbourne Design Week exhibitions SAY IT LOUD Naarm-Melbourne (2022) and Perspectives (2023). He is also the artist behind the Brooklyn Bronzes sculptures at the Museum of Contemporary African Diasporan Art (MOCADA), honoring Black Brooklyn community leaders. As a built environment professional, Kholisile has contributed to projects in Australia, Canada, and the USA, including La Guardia Airport Terminal B, The Javits Center, The Canadian Senate Building, and David Geffen Hall at the Lincoln Center.

Azar Mahmoudian (Iran) is an independent curator and educator, living and working in Tehran and partly Berlin. Among her projects are multi-chapter program of moving image practices, Sensible Grounds, including Inhale (Fundación Antoni Tàpies, Barcelona), That’s How We Undo It (Lux, London), Tuning into the Rhythms of the Chronic (Nida Art Colony, Neringa/Lithuania); Communities of Oblivion (Bétonsalon, Paris); Tectonics of Camaraderie (Tensta Konsthall, Stockholm), the exhibition and conversation series When Legacies Become Debts (The Mosaic Rooms, London), program of seminars, residencies and production grants, Shifting Panoramas (TMOCA and various off-spaces in Tehran, KW, DAZ and feldfünf, Berlin). She was part of the curatorial team of 11th Gwangju Biennial. She initiated and directed a shape-changing art school between Tehran, Armenian mountains, and other rural places in the region and co-organised kaf, a collective study space in Tehran. Both platforms refrain from having an online presence. She has been a lecturer at art academies in Iran and internationally, and is currently PhD fellow at the Academy of Fine Arts, Vienna.

Tīna Pētersone (Latvia) is an independent curator with an MFA in Curating from Goldsmiths, University of London. In 2020, Pētersone received the "Young Curator!" prize at the Riga Photography Biennial, and in 2021 she co-founded TUR, where her exhibition program included two shows nominated for the Purvītis Prize. In 2022, she undertook a residency at the Cité Internationale des Arts in Paris, selected by the Ministry of Culture of the Republic of Latvia, followed by a residency at the Hyde Park Art Center in Chicago, USA. In 2023, Pētersone was awarded the Baltic Fellowship to contribute to the Performa Biennial in New York City. Her most recent projects include a guest curator role for ETC. Magazine and an exhibition at the Ljubljana Art Weekend, showcasing artists from the Baltics to the Balkans. Pētersone continually enhances her expertise through participation in short-term curatorial programs at institutions such as the Salzburg Summer Academy, Stockholm University of the Arts, the University of Gothenburg, International Summer School of Photography in Riga, and Lokomotiva Skopje, among others. Her ongoing focus is on facilitating opportunities and increasing visibility for artists and art professionals, emphasizing cultural exchanges that connect the Baltics with global artistic communities.

Samuele Piazza (Italy) is Chief Curator at OGR Torino. For the institution he has been responsible for the visual arts program and he has commissioned and curated several projects: he curated solo exhibitions by artists Mike Nelson, Maria Hassabi, Monica Bonvicini, Nina Canell, Sarah Sze as well as group shows like “Vogliamo Tutto”, “Mutating bodies, imploding stars” and “Dancing is what we make of falling”. He is currently working on “Retinal Rivalry”, a solo show by Cyprien Gaillard and on a new publication on the work of P Staff, on the occasion of their solo show “Full Rotation”. Piazza received a MA in Visual Arts from Iuav University in Venice and a MA in Aesthetics from CRMEP, Kingston University in London. He was 2015-16 Helena Rubinstein Fellow of the Whitney Museum ISP.

Talia Smith (New Zealand / Australia) is an artist and curator from Aotearoa who is now based in Sydney, Australia. Her curatorial practice focuses on First Nations photographic, moving image and archival practices with a particular interest in how artists are reclaiming the colonial tool of the camera. She has curated exhibitions for organisations such as Primavera for the Museum of Contemporary Art Australia, Singapore International Photography Festival, IMA, UTS Gallery, Ballarat Foto Biennale and Cement Fondu among others. Her writing has appeared in various publications such as Memo Review, Art New Zealand and artist catalogue essays and books, in 2022 she was nominated for Best Art Writing by a New Zealand Maori or Pasifika in the AAANZ awards. Talia was chair of Runway Journal 2017-18 and is currently a board member at Bus Projects and on the editorial committee for Un Projects. She has completed research residencies in Singapore and Germany and currently works as the Coordinator of Programming at Blacktown Arts.

As a curator based in Argentina, Zmud uses curating to explore gender and food politics to address social justice and equity. Zmud grew up nomadic, living between coastal city of Mar del Plata and Patagonian Steppe, where her father was a rural teacher in Mapuche communities.Currently, she lives in Buenos Aires, Argentina, where experiences of multi-diverse ways of living influence her practice. Zmud has a Degree in Art Curating (BA), a Master's degree in Politics and Gender Studies (BA) In 2014, Zmud attended the Artists, Critics, and Curators Program of Torcuato Di Tella University by Ines Katzenstein. She founded Sin Destino Aparente, critical thinking groups with gender perspective. From 2020-21, Zmud was a member of Argentine National Directorate of Cultural Policies Ministry for Equality for Women, Gender and Diversity. Zmud is part of feminist collective Belleza y Felicidad Fiorito where she coordinates Comedor Gourmet, an artistic and gastronomic space that redefines nutrition as a way of thinking about politics of bodies and desire. Zmud coordinates Mapa Contemporáneo de Arte Argentino en Construcción, created in CIMAM 2023 Annual Conference. She was resident of 2024 KADIST program. Through exhibitions, public lectures, curatorial projects, she creates new methodologies of access to knowledge.

Dagmara Wyskiel graduated in Industrial Design and did her doctorate at the Faculty of Sculpture at the Academy of Fine Arts in Krakow. She has been living in Chile since 2001. Co-founder and artistic director of the SACO Contemporary Art International Biennial. She realised large-scale actions in the Valley of Meteorites in the Atacama Desert, at the ALMA astronomical observatory, on the shores of Lake Amargo in the Strait of Magellan and Chilean Antarctica region, in the Kazimierz district of Krakow and in the port of Valparaiso. She has made several interventions on salt lakes in the Argentine Andes; in public spaces in Manizales, Medellín and Bogotá, Colombia; on the steps of the presidential palace of La Paz, Bolivia; in London and Hastings, England; in Antofagasta, Coliumo and Castro, Chile. Her work has been shown in solo exhibitions at the National Museum of Bolivia, the Center for Contemporary Art in Montevideo, Uruguay, twice at the Museum of Contemporary Art and the Museum of Memory and Human Rights in Santiago de Chile, as well as in the United States, Spain, Poland and in group exhibitions in China, Mexico, Russia, Indonesia and Argentina and her films have been awarded at many festivals. She is the winner of the Grand Prize at the 17th Asian Art Biennale Bangladesh, 2016.

Dr Cliff Lauson is currently Director of Exhibitions at Somerset House, London overseeing the exhibitions and commissions programme. He has personally curated commissions by international artists such as Jitish Kallat, Zheng Bo, Amba Sayal-Bennet and Theresa Weber. Until 2022, Cliff was Senior Curator at the Hayward Gallery, Southbank Centre, having organised major exhibitions of work by Matthew Barney, Bridget Riley, Martin Creed, Ernesto Neto, Tracey Emin, and David Shrigley as well as the critically-acclaimed group exhibitions Strange Clay, Light Show and Space Shifters. Independently, he recently curated Rana Begum: Dappled Light at Mead Gallery, Warwick Arts Centre, which toured internationally. Cliff has held previous positions at Tate Modern and at the UBC Museum of Anthropology, Vancouver. He currently serves on the steering group for the Artfund Curatorial Diversity Programme, is a former trustee of Film and Video Umbrella, and a fellow of the Royal Society of the Arts.

Mia Locks is an independent curator and Executive Director of Museums Moving Forward, a research organization devoted to envisioning and creating a more just museum sector by 2030. She was previously a curator at MoMA PS1, New York; Whitney Museum of American Art, New York; and The Museum of Contemporary Art, Los Angeles (MOCA), where she organized exhibitions including the 2017 Whitney Biennial and Greater New York 2015. She also organized solo exhibitions with artists including Math Bass, Samara Golden, and Ulrike Müller.

Her current projects include an exhibition of works by Cauleen Smith,The Deep West Assembly, at Astrup Fearnley Museet in Oslo, and an exhibition of works by Miranda July, New Society, at the Fondazione Prada, in Milan.

Laura Raicovich is a New York City-based writer and curator. Her recent book, Culture Strike: Art and Museums in an Age of Protest, was published in 2021 by Verso Books. She is also editor and curator of Protodispatch, a digital publication featuring artists’ takes on the local and global conditions that make their work necessary; she initiated the forum with Mari Spirito and Protocinema in 2022. With a collective of artists, musicians, and culture workers, Raicovich opened The Francis Kite Club, a bar/cultural/activist space in NYC’s East Village in 2023. Prior to these projects, Raicovich served as Director of the Queens Museum and Interim Director of the Leslie Lohman Museum of Art; she was a Rockefeller Foundation Fellow at the Bellagio Center, and the Tremaine Curatorial Fellow for Journalism at Hyperallergic.

Anushka Rajendran is the curator of Prameya Art Foundation (New Delhi) and also works independently as a curator and writer. Her ongoing curatorial research traces how the notion of public has acquired alternative significance to contemporary art in recent years, as well as the aesthetics of engagement within exhibition frameworks. This is informed by her previous research on responses by artists living in India in the 1990s to political and cultural trauma which has since expanded to encompass the South Asia region. She was the Festival Curator for Language is Migrant, the 2022 edition of Colomboscope, the only interdisciplinary arts festival in Sri Lanka and was on the curatorial team for Kochi Muziris Biennale 2018. Other recent projects include, Like Cupping Water with their Hands, PRAF at Focal Point, Sharjah Art Foundation, 2022 (Sharjah, UAE); Language is Migrant, Warehouse421, 2022 (Abu Dhabi); Phantasmapolis: Looking Back to the Future, Asian Art Biennial 2021-22, National Taiwan Museum of Fine Arts, 2021 (Taiwan); And yet the air was still stirring, Fundación Sandretto Re Rebaudengo Madrid, 2021-22 (Spain); Anatomies of Tongues, Chobi Mela Shunno, 2021 (Dhaka); Speculations on a New World Order, Shrine Empire, 2020 (New Delhi); and Between the Lines, Aomori Contemporary Art Centre, 2019 (Japan). She has published essays in several publications including anthologies, academic journals and artists' monographs and is currently editing a monograph on Anoli Perera's life and work.

Marie-Nour Hechaime is a curator at the Sursock Museum in Beirut since 2020. She previously worked with several non-profit arts institutions including Mophradat (Brussels), Council (Paris) and La Colonie (Paris), and from 2013 to 2016 at Ashkal Alwan (Beirut). She is interested and invested in projects and productions at the intersection of arts, activism, and societal issues that strive to articulate and exercise points of interrelation between disciplines, as well as alternative modes of generating knowledge and collaboration. In 2017-18, she participated in the Experimental Program in Arts and Politics (SPEAP) founded by Bruno Latour. She has been part of Arts Collaboratory since 2014, a self-organized, horizontal ecosystem of twenty-five socially-engaged arts institutions. The latest exhibition she curated, 'Earthly Praxis', looks at landed property from historical, legal, geological, and societal perspectives.

Evagoras Vanezis’ practice engages with the production and contextualisation of cross-disciplinary spaces and narratives, working between the fields of curation, art theory, and creative writing. Through the mediums of project, exhibition, and text, his hybrid methodology incorporates events, ecologies, fragments, and footnotes from sources as varied as the history of aesthetics, literature, feminist and queer theory, decoloniality, and personal and collective experiences. Since 2016 he has organized various exhibitions, programs, and publishing projects in collaboration with communities, institutions, and other initiatives. Recent projects include Anachoresis: Upon Inhabiting Distances, the Cyprus Pavilion at the 17th International Architecture Exhibition, Venice Biennale (co-curator, 2021); Formworks, Thkio Ppalies Project Space (curator, 2019 – 2022); and Poetics of Dance Encounters, Dance House Lefkosia (researcher, 2022 – 2023).

Zippora Elders is a curator, writer and art historian. Since 2021 she is the chief curator and head of curatorial department of Gropius Bau, Berlin. Previously she was amongst others the director of Kunstfort bij Vijfhuizen, cocurator of Sonsbeek20-24 Force Times Distance, curator at Foam museum for photography and curator-in-training at Stedelijk Museum Amsterdam. She has been working for several museums, art schools and magazines and is a regular advisor, jury member and lecturer for cultural organizations.

Liu Ding is an artist and curator based in Beijing. His conceptual art-making and curatorial practice portrays and dialogues with the contemporary history and reality of China from multiple perspectives. Underlined by methods and ideas derived from the intellectual history, his practice is deeply concerned with human existence, charged with a profound humanistic spirit. Since 2022, he has been appointed as the co-artistic director of the 8th Yokohama Triennale (opening in 2024).

Inti Guerrero is co-Artistic Director of the 24th Biennale of Sydney (2024) and tutor of the Curatorial Studies postgraduate programme at the Royal Academy of Fine Arts- KASK, Ghent. He was the artistic Director of bap - bellas artes projects in the Philippines (2018-2022) and tHe was the Estrellita B. Brodsky Adjunct Curator at Tate, London (2016-2020), curator of the 38th EVA International, Limerick (2018) and Artistic Director of TEOR/éTica, San Jose.

Cosmin Costinas is a curator based in Berlin where he is the Senior Curator of Exhibition Practices at the Haus der Kulturen der Welt (House of World Cultures.) He is also Co-Artistic Director of the 24th Biennale of Sydney and was formerly Executive Director and Curator of Para Site, Hong Kong (2011-2022). Costinas co-curated the Romanian Pavilion at the 59th Venice Biennale (2022) and served as the Artistic Director of Kathmandu Triennale 2020 (2022), Curator of Dakar Biennale 2018 - La Biennale de l’Art africain contemporain-DAK’ART, Dakar (2018), Guest Curator at the Dhaka Art Summit ’18 (2018); Co-curator of the 10th Shanghai Biennale (2014), Curator of BAK-basis voor actuele kunst, Utrecht (2008-2011), Co-curator of the 1st Ural Industrial Biennial, Ekaterinburg (2010), and Editor of documenta 12 Magazines, documenta 12, Kassel (2005–2007)

Alison Burstein is a Curator at The Kitchen in New York, where she organizes exhibitions, artist residencies, archival research initiatives, and digital programming and publications. Recent projects include The Kitchen L.A.B. Research Residency in partnership with the Simons Foundation and the School for Poetic Computation (fall 2022–fall 2023); the archive presentation "Live! From The Kitchen Archives" (fall 2022); the performance commission Beau Bree Rhee: "Shadow of the Sea" in partnership with Madison Square Park Conservancy; and the group exhibition "In Support" (fall 2021–spring 2022). She previously served as Program Director at the nonprofit art space Recess (New York) and as a member of the education departments at MoMA, the Guggenheim Museum, and the Brooklyn Museum. She has organized programs and exhibitions for institutions including Tenthaus (Oslo, Norway); The Luminary (St. Louis, MO); Knockdown Center (Brooklyn, NY); Mana Contemporary (Jersey City, New Jersey); the Museum of Jurassic Technology (Los Angeles, CA); and NURTUREart (Brooklyn, NY). Her writing has appeared in artist monographs and in publications including Tate Etc. Burstein’s academic and curatorial research focuses on the intersections of institution building and institutional critique in the United States and Europe from the 1970s through the present. She holds an MA in Art History from Columbia University and a BA from Wesleyan University.

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.

López’s visit was organised in collaboration with Frame Contemporary Art Finland.

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.

Fontaine’s visit was organised in collaboration with Frame Contemporary Art Finland.

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.

Carneiro’s visit was organised in collaboration with Frame Contemporary Art Finland, Danish Arts Foundation and IASPIS – International Programme for Visual and Applied Arts.

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.

Rjeille’s visit was organised in collaboration with Frame Contemporary Art Finland, Danish Arts Foundation and IASPIS – International Programme for Visual and Applied Arts.

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.

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.

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.

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'.

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.

Giovanna Esposito Yussif engages with curatorial praxis and research. Her background is in art history, museology, and critical theory. Giovanna has a long-standing commitment to nondominant praxes, dissentient imaginations, and epistemologies in resistance. In 2019 she curated the Pavilion of Finland at the 58th Venice Biennale with the Miracle Workers Collective. She is currently artistic director of Museum of Impossible Forms –MIF, co-artistic director of Drifts Festival, curator for M_itä biennale 2023, and co-curator for Helsinki Biennale 2023 with MIF.

Yásnaya Elena Aguilar Gil is a Mixe linguist, writer, translator, language rights activist and researcher from Ayutla Mixe, Oaxaca, Mexico. Gil’s global influence has been growing since her publication of Nunca más un México sin Nosotros (Never Again a Mexico Without Us: Indigenous Nations and Autonomy), an essay in which she argued that ‘Mexico is not a single nation but a state in which many nations exist, oppressed’. Gil works as a legal translator and is a regular contributor to both El País and monthly magazine Este País. She has also worked as a project coordinator for Centro Académico y Cultural San Pablo in Ayutla Mixe, Mexico.

Cuauhtémoc Medina (Mexico City, 1965) is a critic, curator and art historian. Doctor in History and Theory of Art (PhD) from the University of Essex in Great Britain and Bachelor of History from the Autonomous University of Mexico (UNAM). He has been a researcher at the Institute of Aesthetic Research of the UNAM since 1993. Between 2002 and 2008 he was the first Associate Curator of Latin American Art at the Tate Modern Collections in the UK. In 2012 he directed the ninth edition of Manifesta The European Biennal of Contemporary Art which was presented in Limburg, Belgium. In 2018 he was appointed curator of the twelfth edition of the Shanghai Biennale. Since 2013, he has been the Chief Curator of the Museo Universitario Arte Contemporáneo (MUAC) at UNAM.

Julio García Murillo (Mexico City, 1984) is an Art Historian and Curator based in Mexico City. He holds a BA in Philosophy (ULSA) and a MA in Art History/Curatorial Studies (UNAM). His work focuses on the displacement between artistic and curatorial research, as well as in critical writing and exhibition projects through the exploration of recent historiography and contemporary practices. He is member of Yacusis. Grupo de Estudios Sub-críticos and Museum of Modern Mars. Currently he is Deputy Director of Public Programs at the Museo Universitario Arte Contemporáneo at UNAM.

Cecilia Alemani is an Italian curator based in New York. Currently, she is the Artistic Director of the upcoming 59th International Art Exhibition (2022) in Venice. Since 2011, she has been the Donald R. Mullen, Jr. Director & Chief Curator of High Line Art, the public art program presented by the High Line in New York. In 2018, Alemani served as Artistic Director of the inaugural edition of Art Basel Cities: Buenos Aires. In 2017, she curated the Italian Pavilion at the Venice Biennale.

Adam Sutherland is the director of Grizedale arts a rurally based organisation that operates from a small-holding in the Lake District of England. The programme is both intensely local - the immediate valley - and international with projects across the globe in both major institutions and small rural communities. The organisation works to make creativity a part of everyday life, an action rather than a product.

Recent exhibitions include 'The Land we Live in' for Hauser and Wirth, 'A Fairland' for Irish Museum of Modern Art, 'Joy Forever' Whitworth Gallery. Projects include 'The Expanded Dream of Kiwanosato' - a residency and schools programme as part of a rural development initiative, ‘The Road’ a community project to build an outdoor education park.

From the farm Lawson Park GA hosts an ongoing programme of residencies, volunteer placements and internships working to develop the land and buildings as creative and innovative ways to live.

Jamillah James is Curator at the Institute of Contemporary Art, Los Angeles (ICA, LA). Together with Margot Norton, James is co-curating the 2021 edition of the New Museum Triennial. Recent exhibitions include No Wrong Holes: Thirty Years of Nayland Blake, the most comprehensive exhibition to date of artist, educator, and curator Nayland Blake; This Has No Name, the first US survey of B. Wurtz; and solo presentations of Lucas Blalock, Maryam Jafri, Rafa Esparza, Abigail DeVille, and Sarah Cain. Prior to joining ICA LA in 2016, James was Assistant Curator at the Hammer Museum, Los Angeles, working in collaboration with the nonprofit Art + Practice, where she organized exhibitions of Simone Leigh, Alex Da Corte, Njideka Akunyili Crosby, among others. She has held curatorial positions at the Studio Museum in Harlem, New York; the Queens Museum, Flushing, New York; and independently organized exhibitions, performances, screenings, and public programs at alternative and artist-run spaces throughout the US and Canada since 2004.

Artist and writer Shubigi Rao makes layered installations of books, etchings, drawings, pseudo-scientific machines, metaphysical puzzles, video works, ideological board games, and archives. These often immersive and tongue-in-cheek works demonstrate her diverse interests in subjects such as archaeology, neuroscience, libraries, archival systems, histories and lies, literature and violence, ecologies, and natural history.

Her current texts, video, photographs and artworks concern ecological and human interactions through the movements of objects and language. She is currently chief curator of the 5th edition of the Kochi-Muziris Biennale, 2020.

Mario D’Souza is a curator and writer. He was formerly curator at Khoj International Artists’ Association, New Delhi. His research interests include political imaginaries, the nation building project, cultures and aesthetics of dissent, public acts of assembling, legal and extra-legal systems, evidence and truth. Mario is interested in emerging contemporary practices in the ‘Global South’ aligning South East Asia, South and West Asia, Africa and South America.

In 2019, he contributed to how to reappear: through the quivering leaves of independent publishing curated by Ala Younis and Maha Maamoun at the Beirut Art Center. His exhibitions with Khoj include This Must be True, that he co-curated in 2019, along with projects like 'Evidence Room' (2017) and 'Turn of the tide' (2018). He is currently on the curatorial team for the 5th edition of the Kochi-Muziris Biennale, 2020.

Shubigi Rao and Mario D’Souza are visiting Norway as part of OCA’s International Visitor Programme (IVP). OCA runs an International Visitor Programme to support international curators and cultural producers in their research in Norway for upcoming exhibitions and projects.

Iwona Blazwick has been Director of the Whitechapel Gallery since 2001 and is a curator, critic and lecturer. She was formerly at Tate Modern and London’s ICA, and has worked as an independent curator in Europe, the US and Japan.

Blazwick has curated solo shows and new commissions from some of the most significant living artists in the world, and has conceived thematic exhibitions that have shaped new art histories, including A Short History of Performance. Blazwick established the Artists Film International global consortium, and has set new precedents for the animation of collections and archives.

She is series editor of Whitechapel Gallery/MIT Documents of Contemporary Art, has written about numerous contemporary artists, and on themes and movements in modern and contemporary art, exhibition histories and art institutions.

Sonel Breslav, is the Director of Fairs & Editions at Printed Matter, Inc. the world’s leading non-profit organization dedicated to the dissemination, understanding and appreciation of artists’ books and related publications. Sonel will present a short history of Printed Matter, Inc, with a focus on the NY and LA Art Book Fairs, now entering its 14th year in production, the leading international gathering for the distribution of artists’ books, celebrating the full breadth of the art publishing community.

Natasha Ginwala is a curator and writer. She is Associate Curator at Gropius Bau, Berlin and Artistic Director of Gwangju Biennale 2020 with Defne Ayas. Ginwala has curated Contour Biennale 8, Polyphonic Worlds: Justice as Medium and was part of the curatorial team of documenta 14, 2017. Other recent projects include COLOMBOSCOPE Festival ‘Sea Change’ (2019); Arrival, Incision. Indian Modernism as Peripatetic Itinerary in the framework of “Hello World. Revising a Collection” at Hamburger Bahnhof - Museum für Gegenwart, Berlin, 2018; Riots: Slow Cancellation of the Future at ifa Gallery Berlin and Stuttgart, 2018; My East is Your West at the 56th Venice Biennale, 2015; and Corruption: Everybody Knows… with e-flux, New York, 2015. Ginwala was a member of the artistic team for the 8th Berlin Biennale for Contemporary Art, 2014, and has co-curated The Museum of Rhythm, at Taipei Biennial 2012 and at Muzeum Sztuki, Łódź, 2016–17. From 2013–15, in collaboration with Vivian Ziherl, she led the multi-part curatorial project Landings presented at various partner organizations. Ginwala writes on contemporary art and visual culture in various periodicals and has contributed to numerous publications. She is a recipient of the 2018 visual arts research grant from the Berlin Senate Department for Culture and Europe.

Defne Ayas has served as a director and curator to several cultural institutions and research initiatives across the world, including the Netherlands, China, the United States and Russia. Ayas was the director of Witte de With Center for Contemporary Art in Rotterdam (2012-2017). Currently, Ayas is the Artistic Co-Director of the Gwangju Biennale 2020 (w/Natasha Ginwala) and works as a Curator at Large at V-A-C Foundation in Moscow. She has served as curator of the Pavilion of Turkey in the 56th Venice Biennale (2015); co-curator of the 6th Moscow Biennale (2015); co-curator of the 11th Baltic Triennial (2012), and curator of New York-based Performa since 2005.

Jacopo Crivelli Visconti is a curator and art critic. He holds a PhD in architecture from the Universidade de São Paulo (USP), and was a member of the team of the Fundação Bienal de São Paulo from 2001 to 2009, when he curated the official Brazilian participation at the 52nd International Art Exhibition – La Biennale di Venezia (2007). His recent works include: Untimely, Again, Pavilion of the Republic of Chipre at the 58th Biennale di Venezia, Italy (2019); Brasile – Il coltello nella carne, PAC – Padiglione d’arte contemporanea, Milan, Italy (2018); Matriz do tempo real, Museu de Arte Contemporânea of the Universidade de São Paulo, Brazil (2018); Memories of Underdevelopment, Museum of Contemporary Art of San Diego, USA (2017); Héctor Zamora – Dinâmica não linear, Centro Cultural Banco do Brasil, São Paulo, Brazil (2016); Sean Scully, Pinacoteca do Estado de São Paulo, Brazil (2015); and Ir para volver, 12th Bienal de Cuenca, Ecuador (2014). He is the author of the book Novas derivas (WMF Martins Fontes, São Paulo, Brazil, 2014; Ediciones Metales Pesados, Santiago, Chile, 2016). He regularly collaborates with publications on contemporary art, architecture and design, contributes to exhibition catalogs, and writes monographs on artists.

Fernanda Brenner is a curator. She is the founder and artistic director of Pivô, a non profit art space in São Paulo. Recent exhibitions include A Burrice dos Homens (2019) Bergamin Gomide Gallery, São Paulo, Neither (2017) and Nightfall (2018) , Mendes Wood DM , Brussels and Black Box (2018) at Fundação Iberê Camargo, Porto Alegre. She is a contributing editor for Frieze Magazine and her writings featured in number of publications and catalogues, such as Artreview, Mousse, Cahiers d’Art and The Exhibitionist, where she is part of the editorial board.

Jaimie Isaac is a curator and interdisciplinary artist. Jaimie works inside and outside institutional systems to create space for underrepresented groups to challenge the canon and expand contemporary and art historical narratives. Her interests in social engagement are present within her exhibitions. Isaac’s thesis research focus was about Decolonizing Curatorial Practice.

Alexie Glass-Kantor is Executive Director of Artspace, Sydney, supporting the commissioning of contemporary art, publishing initiatives, and research residencies for artists and curators. She is the Curator for the Encounters sector at Art Basel, Hong Kong (2015—ongoing), which is the curated sector for the presentation of large-scale installations. Since 2000 she has curated or co-curated over one hundred exhibitions across independent spaces, collecting institutions, biennials and festivals, facilitating international artists across generations to develop projects. Instigating collaborative international curatorial projects throughout her career, Glass-Kantor has overseen curatorial projects with organizations including: Art Sonje Centre, South Korea; Proto Cinema, Turkey; Museum of Contemporary Art & Design, Philippines; Kunsthalle Tbilisi, Georgia; Dhaka Art Summit, Bangladesh; Performa15 and Printed Matter Inc., New York; Institute of Contemporary Arts and Chisenhale Gallery, London; Iberia Centre for Contemporary Art, Beijing; NUS Museum, National University of Singapore; 13th SITE Santa Fe Biennial, New Mexico; and Melbourne International Arts Festival with MONA FOMA, Hobart. In collaboration with Natasha Bullock, Glass-Kantor co-curated Parallel Collisions: 12th Adelaide Biennial of Australian Art at the Art Gallery of South Australia (AGSA), in 2012. Prior to her appointment to Artspace she was Director–Senior Curator, Gertrude Contemporary, Melbourne, and at the Australian Centre for the Moving Image, Melbourne. Since 2015, Glass-Kantor is the Chair of the Contemporary Art Organisations of Australia and is currently serving on boards including: Board Director, Museum of Contemporary Art & Design, De La Salle College of Saint Benilde, Manila; Academic Board, National Art School, Sydney; Jury Member, Advance Global Awards 2018 and 2019; and Council Member, Sydney Culture Network. She regularly jury’s art award and prizes, alongside a program of participating in public programs and symposiums and delivering lectures across Australia and internationally.

Laura McLean-Ferris is a writer and Curator at Swiss Institute, New York, where she has curated numerous projects with artists including Cally Spooner, Alex Baczynski-Jenkins, Olga Balema, Aria Dean, Irena Haiduk, Nancy Lupo and Studio for Propositional Cinema. As a writer, she is a regular contributor to Artforum, ArtReview, Art-Agenda, Even, frieze, Mousse, and Flash Art International, and has authored catalogue essays for monographs on the work of Nina Beier, Anna-Sophie Berger, Deimantas Narkevičius, Rachel Rose and Hayley Tompkins. Other recent exhibitions include Our Lacustrine Cities at Chapter NY, New York (2015) and The Forecast at Croy Nielsen, Vienna (2017). She was the recipient of the 2015 Creative Capital | Andy Warhol Foundation Arts Writers Grant for short-form writing and her short-form collection The Lacustrine was published in 2016.

Brook Andrew is an interdisciplinary artist who examines dominant narratives, often relating to colonialism and the restitution of cultural objects to their original communities. Through museum and archival research and interventions, he aims to offer alternate versions of forgotten histories; illustrating different means for interpreting history in the world today. Apart from drawing inspiration from vernacular objects and the archive he travels internationally to work with communities and various private and public collections to tease out new interpretations.

Most recently Brook presented Ahy-kon-uh-klas-tik, an interrogation of the Van Abbemuseum archives in Holland, which re-imagines a different world timeline alongside his own archive curated by Nick Aikens. In 2017 he also created an intervention into the collection of the Musée d'ethnographie de Genève, Switzerland; and The Right to Offend is Sacredopened at the National Gallery of Victoria, a 25-year reflection on his practice. Across October and November 2017, Brook will complete a Smithsonian Artist Research Fellowship, with the Smithsonian Institute, USA; and in 2018 present What’s Left Behind, a new commission for SUPERPOSITION: Art of Equilibrium and Engagementat the 21st Biennale of Sydney.

His recent research includes an ambitious international comparative three-year Federal Government Australian Research Council grant titled Representation, Remembrance and the Memorial. The project is designed to respond to the repeated high-level calls for a national memorial to Aboriginal loss and the frontier wars: www.rr.memorial.

Brook is currently the Artistic Director for the 22nd Biennale of Sydney opening March 2020, which is the 250 year anniversary that Captain James Cook claimed to have discovered Australia for the British monarch.

Oswaldo Maciá creates olfactory-acoustic sculptures that have been exhibited all over the world. His work is held in international collections, including Tate Britain and Daros Latinamerica.

His sculptures have been included in numerous large-scale periodic exhibitions and solo presentations across four continents. As he states in his manifesto, Maciá seeks to stimulate questions and counter received opinion. In 2015 Maciá won a major public commission for the city of Bogotá selected by an international jury. Scenario in Construction is the first public sound sculpture of in the southern hemisphere. In 1976 he attended the School of Fine Arts in Cartagena at the age of 16, graduating in 1980.

In 1982 he moved to the capital Bogotá to study advertising at Jorge Tadeo Lozano University, and left after five semesters to become a full-time artist. Maciá taught Fine Art at Jorge Tadeo Lozano University from 1985 before moving to Barcelona in 1989, where he studied Mural Painting at Llotja School of Fine Art. In 1990 Maciá moved to London, where he continues to run a studio.

He studied BA in Sculpture between 1990 and 1993 at Guildhall University followed in 1994 by Masters in Fine Art at Goldsmiths College, University of London. In the 1990s his work featured in solo exhibitions in London venues at the forefront of defining installation art, including the Museum of Installation and Clove Gallery, and group exhibitions such as Ideal Standard Summertime at Lisson Gallery.

Zachary Kaplan is Executive Director of Rhizome, the leading born-digital art institution and longtime affiliate of the New Museum in New York City. Since 1996, Rhizome has championed born-digital art and culture through innovative exhibition, commissions, preservation, and software development programs.

During Kaplan's tenure, the organization has broadened its artistic and preservation programs. In 2016, Rhizome launched Net Art Anthology, a retelling of net art history through 100 works that define the field—which will come to a close with an exhibition opening at the New Museum in January 2019, and the release of a new publication. That same year, the organization founded the Webrecorder initiative, a major software development project to create open-source tools to easily archive and share complex, interactive websites. Recently, Rhizome's flagship art-tech program Seven on Seven, which pairs leading artists and technologists in to create new interdisciplinary projects, celebrated its 10th anniversary and saw its first China-based edition.

Before Rhizome, Kaplan worked at the Renaissance Society in Chicago and the Museum of Contemporary Art, Los Angeles.

Stephanie Seidel is Associate Curator at the Institute of Contemporary Art, Miami (ICA Miami). Seidel has curated a number of exhibitions for ICA Miami, among others solo presentations of Thomas Bayrle, Tomm El-Saieh, Diamond Stingily, Sondra Perry, Louise Bourgeois and Edward and Nancy Kienholz. Forth coming exhibitions at ICA Miami include a survey for artist Judy Chicago.

Before joining ICA Miami, Seidel was a curator at the Neuer Aachener Kunstverein, Germany, as well as for the commissioning project “25/25/25” for the Arts Foundation of North Rhine-Westphalia, Düsseldorf, where she worked with contemporary artists, such as Neïl Beloufa, Sam Lewitt, Ken Okiishi, Pamela Rosenkranz, and Tercerunquinto. She also founded the project space Between Arrival & Departure in Düsseldorf, where she organized commissions by Sam Anderson, Olga Balema, Studio for Propositional Cinema and Cooper Jacoby, among others.

Christina Lehnert is curator at Portikus, Frankfurt/Main. Prior to Portikus, she served as the interim director at Kunstverein Braunschweig in 2017. From 2015–2016 she was given a curatorial grant at Gebert Stiftung für Kultur in Switzerland, where she realized various group and solo exhibitions. Collaborations in the solo and group exhibitions included artists such as Thea Djordjadze, Georgia Sagri, Hanne Lippard, Gabriel Kuri, Lynn Hershman Leeson, Hannah Black, Mathis Altman, Aude Pariset, Jan Vorisek and Alicia Frankreich, et al.

In the past, she was a curatorial assistant at Kunstmuseum Liechtenstein and Kunsthalle Bielefeld. She received an MA in art history from Humboldt University in Berlin with a focus on the media image in contemporary art.

Robin Clark is Director of the Artist Initiative at the San Francisco Museum of Modern Art, where she leads interdisciplinary collection research projects that involve deep engagements with living artists. An art historian and curator whose work has long encompassed intersections of contemporary art and architecture, she is also founding editor of VoCA Journal, an online platform for artists and their collaborators. Prior to joining SFMOMA she worked as an independent curator contributing essays to comprehensive catalogues on artists including John McCracken (Zwirner, 2013) and Robert Overby (Mousse, 2014). She was curator of the Currents exhibition series at the Saint Louis Art Museum where she showed new work by Matthew Buckingham, Ellen Gallagher, Isaac Julien, Julie Mehretu, Rivane Neueschwander, and Neo Rauch, among others (2002-2007). Her more recent exhibitions with accompanying publications include Automatic Cities: The Architectural Imaginary in Contemporary Art (Museum of Contemporary Art San Diego, 2009) and Phenomenal: California Light, Space, Surface, (part of the Getty’s Pacific Standard Time Initiative, 2011). She contributed to the catalogue for the exhibition, Mary Corse: A Survey in Light (Whitney Museum of American Art, 2018) and is the author of the first monograph on Larry Bell (Rizzoli, 2018). Clark earned degrees in Art History from Smith College (BA), Boston University (MA) and the Graduate Center of the City University of New York (PhD).

Gabriel Mestre Arrioja is a writer, artist, filmmaker and independent curator. Mestre Arrioja works with non-linear projects to generate different epistemological production that reunites artistic practices, the knowledge of the indigenous people of Mexico and the First Nations of the Americas with the history of the avant-garde art movements and notions from critical thinking. His projects are to find different schemes of participation and collaboration with individuals and groups alienated by Capitalism and other production systems, promoting, among other things: aims of decolonialization, the exercise of institutional criticism and civil rights empowerment and the building of alternative and solidarity economies. Since 2002, he has managed several projects as independent, self-supported or freelance curator. His achievements have been developed mostly in the fields of contemporary art and visual culture but also within anthropology and the environmental science. He has collaborated with selected institutions (public, private and personal ones) in Europe and Asia, as well as in the Americas, running his exhibitions, publications and public programs in a number of countries such as: Iceland, Japan, Germany, Denmark, Sweden, Austria, Cuba, Colombia and Mexico. Recently, his curatorial research, mediation and management of projects have been benefited by different international grants, programs and institutions, such as: Danish Art Foundation, IASPIS, FRAME, CCA Estonia, CAC Vilnius, Icelandic Art Center, IFA, Goethe Institute, Austrian Cultural Forum and Jumex Foundation, among others. He is the founder of the Curatorial Residency In Mexico (CRIMEX), the project space Surplus Int. and the non-profit organization Artenación.

Tom Trevor is Artistic Director of the Atlantic Project, leading on the development of a new international biennial festival of contemporary art for the South West of England, in the lead-up to the Mayflower 400 anniversary in 2020. He is also Guest Curator at the Whitechapel Gallery, London. Previously he was Artistic Director of the 4th Dojima River Biennale in Osaka, Japan (2014-15), curatorial consultant to the 1st ARoS Triennial in Aarhus, Denmark (2014-15), Guest Curator at the Devi Art Foundation in Delhi, India (2013-14), Director of Arnolfini in Bristol, UK (2005-13), Associate Curator of the Art Fund International collection (2007-12) and Director of Spacex in Exeter, UK (1999-2005).

As a champion of experimental emerging practice, Trevor has curated more than 100 projects, including numerous early career shows of artists as well as first UK exhibitions of renowned international figures such as Maria Thereza Alves, Cosima von Bonin, Matti Braun, Tania Bruguera, Meschac Gaba, Doris Salcedo, Do Ho Suh, Joelle Tuerlinckx, Lois Weinberger and Haegue Yang, amongst others. He has curated numerous group exhibitions and led on large-scale international initiatives (e.g. introducing Japanese audiences to the work of artists such as Melanie Gilligan, Michael Stevenson, Hito Steyerl and SUPERFLEX for the first time). He also has experience of interdisciplinary programming, including performance art, experimental music, dance, film, digital and online projects.

Trevor’s recent curated projects include 'Music for Museums' (a series of performances, film screenings and sound interventions) throughout the Whitechapel Gallery (2015-16); the 4th Dojima River Biennale in Osaka (2015), entitled 'Take Me To The River' (with artists from eight countries showing alongside emerging and established practitioners from Japan); 'Black Sun' at the Devi Art Foundation in Delhi (2013) (including leading artists from the South Asian diaspora); and Joelle Tuerlinckx’s 'Wor(l)d(k) in Progress?' at Arnolfini (2013) (developed in collaboration with Wiels, Brussels, and Haus der Kunst, Munich). Major commissions he worked on in 2015 include John Akomfrah’s 'Vertigo Sea' for the 56th Venice Biennale (Associate Producer) and 'New York City Apartment / Bristol' by Do Ho Suh for the Art Fund International collection.

Vincenzo de Bellis is Curator of Visual Arts at Walker Art Center, Minneapolis. At Walker he has recently organised exhibitions such as 'Nairy Baghramian: Deformation Professionelle' (2017) and 'I am you, You are too' (2017). He has also served as Coordinating Curator for Jimmie Durham: At the Center of the World (2017). He is currently working on 'Illusion Brought me Here', a survey exhibition by Mexican Artist Mario Garcia Torres, scheduled to open at Walker, October 24, 2018 and then touring to Wiels, Brussels in May 2019. Prior to joining the Walker in 2016, De Bellis was director and curator of Peep-Hole Art Center in Milan, which he co-founded in 2009. There he produced a range of exhibitions with artists including Mario García Torres, Uri Aran, Paolo Gioli, Ahmet Ogut, Andra Ursuta, Renata Lucas, Paolo Icaro, Pavel Buchler, Gabriel Sierra, Francesco Arena, Rosalind Nashashibi, and Trisha Baga, as well as publications with Jimmie Durham, Liam Gillick, Chistodolous Panayioutu, Alejandro Cesarco, Dora Garcia, Judith Hopf, Seth Price and Paul Sietsema. In 2015 De Bellis curated Ennesima, an Exhibition of Seven Exhibitions on Italian Art at Triennale di Milano and a solo exhibition by Betty Woodman at ICA, London and Museo Marino Marini, Florence. He has also held the position of Artistic Director of the International Fair of Modern and Contemporary Art in Milan since 2012. Previously de Bellis held curatorial roles at Museion, Bolzano, where he also guest-curated a survey show 'Soft Information in Your Hard Facts' by Mexican artist Gabriel Kuri and GAMeC, Bergamo. De Bellis holds a Master of Arts in Curatorial Studies from Center for Curatorial Studies, Bard College. He is a contributor to numerous exhibition catalogues and art publications, including Artforum.com and Mousse Magazine.

Sumesh Sharma is an artist, curator and writer. He co-founded the Clark House Initiative in Bombay in 2010. His practice is informed by alternate art histories that often include cultural perspectives informed by socio-economics and politics. Immigrant Culture in the Francophone, Vernacular Equalities of Modernism, Movements of Black Consciousness in Culture are his areas of interest.

Dasom Suh is an artist and independent artistic director. In her undergraduate studies she majored in ceramics, while majoring in art education in the graduate school. She worked as an educator in Seoul. Since her arrival in Gwangju, she has been a member of the Mite-Ugro, a local association of curators and artists. She worked as a project manager under the 2016 Gwangju Biennale. In 2017, she had an artist-in-residency programme at the Crater ​Invertido in Mexico City focusing on Mexican-Korean culinary exchange projects. She curated the exhibition of the Korean artist Yunwook Moon in Gwangju and the exhibition of the Mexican artist Jaime Ruiz in Seoul, together with whom she also collaborated on a culinary project in Hong Kong.

Hans Ulrich Obrist is the Artistic Director of the Serpentine Galleries, London, and co-founder of 89plus. Prior to this, he was the Curator of the Musée d’Art Moderne de la Ville de Paris. Since his first show ‘World Soup (The Kitchen Show)’ in 1991, he has curated more than 300 exhibitions. Obrist has lectured internationally at academic and art institutions, and is a contributing editor to the magazines Artforum, AnOther Magazine, 032C, a regular contributor to Mousse and Kaleidoscope and he writes columns for Das Magazin and Weltkunst. In 2011 he received the CCS Bard Award for Curatorial Excellence, and in 2015 he was awarded the International Folkwang Prize for his commitment to the arts. His recent publications include Mondialité,Conversations in Mexico,Ways of Curating, The Age of Earthquakes with Douglas Coupland and Shumon Basar, and Lives of The Artists, Lives of The Architects.

Simon Castets is the Director and Curator of Swiss Institute, New York and co-founder of 89plus. He holds an MA in Curatorial Studies from Columbia University and a MA in Cultural Management from Sciences Po, Paris. In addition to exhibitions at Swiss Institute, recent curatorial work includes 'Rachel Rose' at Aspen Art Museum, 'Champs Elysées' at Palais de Tokyo, Paris (with Julie Boukobza and Nicola Trezzi), 'Poetry will be made by all!' at Moderna Museet, Stockholm, and 'Americans 2017' at LUMA Foundation, Zurich (both together with Hans Ulrich Obrist for 89plus). His writing has appeared in publications such as Mousse, PIN UP, Flash Art and Kaleidoscope. He has delivered lectures at Columbia University and Brown University, and frequently participates on panels and juries internationally.

Anita Dube completed her BA (History) from Delhi University in 1979 and her MVA (Art Criticism) from the Faculty of Fine Arts, Maharaja Sayajirao University, Baroda, in 1982. As a member of Radical Painters and Sculptors Association she wrote the manifesto of the seminal exhibition ‘Questions and Dialogue’ in 1987. Dube is the co-founder and board member of KHOj International Artists' Association. She has contributed texts to many publications on contemporaty art.

Dube's select solo exhibitions include ‘Yours Disparately’ (Nature Morte, New Delhi, 2014), ‘Chance Pieces’ (Nature Morte, Berlin,2013), ‘Eye,etc.’ (Lakeeren Gallery, Mumbai, 2013), ‘Babel’ (Galerie Dominique Fiat, Paris, 2011), ‘Kal’ (Lakeeren Gallery, Mumbai, 2010), ‘Phantoms of Liberty’ (Galerie Almine Rech, Paris, 2007), ‘Illegal’ (Nature Morte, New Delhi; Bose Pacia, New York, Gallery SKE, Bangalore, 2005), ‘The Sleep of Reason’ (Sakshi Gallery, Mumbai; Nature Morte, New Delhi, 2003), ‘Via Negativa’ (Nature Morte, New Delhi, 2000), ‘You Tell What You Know Down Here Girl’ (Sakshi Gallery, Mumbai, 1999), Desire Garden (Community Hall, Apartmenrs, New Delhi, 1992). She has been represented in various national and international biennales and festivals such as the first ‘Kochi Muziris Biennale’ (India, 2012), ‘Biennale Jogja XI’ (Jogja National Museum, Indonesia, 2011), ‘Against Exclusion’ 3rd Moscow Biennale of Contemporary Art (curated by Jean-Hubert Martin, Garage Center, Russia, 2009), ‘iCon: India Contemporary’, Venice Biennale (Collateral event, Italy, 2005), ‘Yokohama Triennale’(Japan, 2001) and ‘7th Havana Biennial’ (Cuba, 2000). Dube has shown widely nationally and internationally in large scale group exhibitions including ‘Part Narratives’ (curated by Gayatri Sinha, Bikaner House, Delhi 2017),‘Given Time: The Gift and Its Offerings’ (curated by Dr. Arshiya Lokhandwala, Gallery Odyssey, Mumbai 1016), ‘Dwelling’ (curated by Ranjit Hoskote, Galerie Mirchandani & Stienruecke, Mumbai, 2016), ‘After Midnight: Indian Modernism to Contemporary India 1947/ 1997’ (curated by Dr. Arshiya Lokhandwala, Queens Museum of Art, New York, 2015), ‘Difficult Loves-7 Contemporaries’ (curated by Roobina Karaode, The Kiran Nadar Museum of Art, New Delhi, 2013), ‘Labyrinth’ (presented by Lakeeren Gallery, Dr. Bhau Daji Lad Museum, Mumbai, 2011), ‘Paris-Delhi-Bombay’ (curated by Sophie Dupleix and Fabien Bousteau, Centre Pompidou, Paris, 2011), ‘Archive of Utopia’ (presented by Seven Art Gallery, Lalit Kala Akademi, New Delhi, 2011), ‘Conundrum’ (Bose Pacia, New York, 2011), ‘Indian Highway’ (curated by Stinna Toft, Herning Museum of Contemporary Art, Denmark, 2010), ‘Indian (Sub)Way’ (Grosvenor Vadehra, London, 2010), ‘Mythologies’ (Haunch of Venison, London, 2009), ‘Beyond Globalization’ (Beyond Art Space, Beijing, 2009), ‘India 3: New Delhi-Republic of Illusions’ (Galerie Krinzinger, Wein, 2009), ‘The Audience and the Eavesdropper: New Art from India and Pakistan’ (Phillips de Pury & Company, London and New York, 2008), ‘Santhal Family: Positions Around an Indian Sculpture’ (MuKha, Antwerp, 2008), ‘Urban Manners’ (Hangar Bicocca, Milan, 2007), ‘New Delhi New Wave’ (Marella Gallery, Milan, 2007), ‘India: Public Places/ Private Spaces’ (The Newark Museum, Newark, 2007), ‘Horn Please- Narratives in Contemporary Indian Art’ (Kunstmuseum, Bern, 2007), ‘Bombay Maximum City’ (Lille, 2006), ‘India of The Senses’ (Espace Louis Vuitton, Paris, 2006), ‘Indian Summer’ (Ecole Nationale Superieure des Beaux Arts, Paris, 2005), ‘Resonance: Anita Dube and Subodh Gupta’, (International Centre for Contemporary Asian Art, Vancouver, 2004), ‘Home-Srreet-Shrine-Bazaar-Museum’, (City Art Gallery, Manchester, 2002), ‘Alchemy’, (The Stephen Lawrence Gallery, University of Greenwich, London, 2002), ‘ARS 01’ (Kiasma, Helsinki 2001), ‘Edge of rhe Century’, (curated by Amit Mukhopadhya,Nature Morte, New Delhi, 1999).

Lisa Rosendahl is an independent curator and writer. She has been working as a curator at Public Art Agency Sweden since 2014, where she initiated and curated the series 'Industrial Society in Transition' commissioning context-specific works by artists such as Alexandra Pirici, Annika Eriksson, Raqs Media Collective, Sara Jordenö and Lisa Tan in different parts of the country. Her curatorial research into the industrial past and present of Sweden also includes the exhibition 'The Society Machine – the Industrial Era from the Perspective of Art' at Malmö Konstmuseum 2016-17, combining objects from the Natural- Cultural- and Technical History collections of Malmö Museum with contemporary artworks by more than 30 artists.
Between 2011-2013 she was Director of Iaspis, the Swedish Arts Grants Committee's international programme for visual art, architecture and design where she developed international collaborations and ran the Stockholm-based artist residency as well as an extensive programme of discursive events. Larger conferences and events curated for Iaspis include 'Practice International' (2013, with co-curators Binna Choi and Grant Watson), 'Practices For Everyday Life' (2013) 'Body of Work' (2012, with co-curator Lucie Fontaine) and 'Exhibition as Discourse as Disco' (2011 Istanbul Biennial parallel event).
Previous positions include Director of BAC (Visby, 2008-10) Associate Curator at Röda Sten Konsthall (Gothenburg, 2006-08) Director of Exhibitions at Lisson Gallery (London, 2003-06) and Acting Director at Electra Productions (London, 2006-07).
She has curated exhibitions at Moderna Museet (Stockholm) Kunsthall Charlottenborg (Copenhagen) and INIVA (London) amongst other places. She writes and lectures extensively on contemporary art and was a co-editor of Work, Work, Work – an Anthology of Art and Labour (Sternberg Press). She was an external tutor on the MA Curatorial Practice at Bergen Academy of Art and Design in Norway 2016-17. Since 2016 she also runs the course 'What is an Artist?' on the MA Fine Art programme at Konstfack in Stockholm, enquiring into the history and future of the role of the artist through theory and practice.

Rosendahl will visit Oslo, Lofoten, Tromsø and Trondheim during her stay in Norway in September–October 2017 as part of OCA's International Visitor Programme (IVP).

Professor Jiang Jiehong is Head of Research at School of Art, Director of the Centre for Chinese Visual Arts, Birmingham City University. He has extensive research and curatorial experience in contemporary Chinese art and visual culture. Jiang was Lead Curator for the 4th Guangzhou Triennial: The Unseen (in collaboration with Jonathan Watkins, 2012), the 3rd Asia Triennial Manchester: Harmonious Society (2014), and most recently in 2016, he curated 'The Shadow Never Lies' (with Mark Nash, Shanghai 21st Century Minsheng Art Museum), 'The Distant Unknown: Contemporary Art from Britain' (OCAT Shanghai) and 'Everyday Legend' (Shanghai Minsheng Art Museum). Jiang’s book publications include Burden or Legacy: from the Chinese Cultural Revolution to Contemporary Art (Hong Kong University Press, 2007), The Revolution Continues: New Art from China (Jonathan Cape, 2008), Red: China’s Cultural Revolution (Jonathan Cape, 2010), and An Era without Memory: Chinese Contemporary Photography on Urban Transformation (Thames and Hudson, 2015). He is Principal Editor of the Journal of Contemporary Chinese Art (Intellect). Currently, Jiang is Lead Curator for the First Thailand Biennale: Edge of the Wonderland, to open in November 2018.

Anna Poznanskaya studied Art History at the Moscow State University, and got her PhD degree in 2008 from the Moscow Fine Arts Academy. She is currently a keeper of 19th century painting in the Pushkin State Museum of Fine Arts in Moscow. Poznanskaya has curated numerous exhibitions in the Pushkin Museum since 1999, both domestic and in collaboration with colleagues from European Museums. In her exhibition projects Poznanskaya focuses on cross-cultural problems and relations between the past and the future. She has authored a large number of research publications, including Catalogue Raisonnee - a complete catalogue of Danish, Finnish, Norwegian and Swedish 18th–20th century paintings from the collection of the Pushkin Museum, as well as Catalogue Raisonnee of English 16th-20th century paintings. Poznanskaya lectures at the Russian State University for the Humanities in Moscow.

Stefan Kalmar is the Director of Institute of Contemporary Arts (ICA) in London. Before he came to ICA, he served as the Executive Director and Curator at Artists Space in New York, where he was since 2009. Exhibitions during his tenure supported and introduced artists at decisive moments, including: Marc Camille Chaimowicz (2009), Danh Vō (2010), Charlotte Posenenske (2010), Duncan Campbell (2012), Bernadette Corporation (2012), Sam Pulitzer (2014), Hito Steyerl (2015), Laura Poitras (2015), Cameron Rowland (2016) and Lukas Duwenhögger (2016). Kalmar further introduced a second venue, Artists Space Books & Talks, which quickly became a central platform for critical discussion in contemporary art and culture. Prior to joining Artists Space, Stefan was Director of Kunstverein München (2004–09), Director of the Institute of Visual Culture in Cambridge (2000–04) and Artistic Director at Cubitt Gallery in London (1997–99).

Philippe Pirotte is Dean of the Staedelschule and Director of Kunsthalle Portikus in Frankfurt.
Next to that he is adjunct senior curator at the University of California Berkeley Art Museum and Pacific Film Archive, and part of the curatorial team of the 2017 Jakarta Biennale. Pirotte was one of the co-founders of the contemporary art center objectif_exhibitions in Antwerp, and was the organisation’s artistic director until 2005. From 2004 to 2013, Pirotte held the position of Senior Advisor at the Rijksakademie for Visual Arts in Amsterdam. From 2005 to 2011, he was Director of the Kunsthalle Bern, where he organised solo exhibitions with artists such as Anne-­Mie Van Kerckhoven, Owen Land, Oscar Tuazon, Jutta Koether, Santu Mofokeng, Moshekwa Langa, Pavel Büchler, Allan Kaprow, Xu Zhen, Dora García, Xu Zhen (Madein Company), Deimantas Narkevicius, and Rita McBride. At the Kunsthalle he also organised the group exhibition 'Off Key, Animism and Voids – A Retrospective of Empty Exhibitions'. At the UC Berkeley Art Museum and Pacific Film Archive, he curated the retrospective of acclaimed Chinese film-artist Yang Fudong (2013). At Portikus he organised exhibitions with Lucy Raven, Otobong Nkanga, Ade Darmawan, Meyer Vaisman, and Sharyar Nashat, Marina Rosenfeld among others. As a freelance curator Pirotte co-curated and organised exhibitions with Hassan Khan for the Museum für Moderne Kunst in Frankfurt (2014); Luc Tuymans for the Belgian Pavilion at the Venice Biennale (2001); the retrospective of Senegalese Painter El Hadji Sy (2015); 'My Communism – Poster Exhibition' at TOP contemporary Art Space Shanghai; '50 Days at Sea' for the Shanghai Biennale; 'A Fantasy for Allan Kaprow' for the Contemporary Image Collective in Cairo; and 'Camuflaje' for the Fundación Celarg in Caracas Venezuela. He also served as Advising Programme Director for the Sifang Art Museum in Nanjing (where he organised the inaugural exhibition 'A Garden of Diversion') and he is an advisor for the Kadist Art Foundation (Paris/San Francisco). In 2016 he was curator of the 2016 edition of La Biennale de Montréal, entitled 'Le Grand Balcon'. Pirotte has written numerous essays about contemporary art and artists, and contributed to Nka – Journal of Contemporary African Art, Afterall Journal, Kaleidoscope, Mousse Magazine, and Parkett Magazine among others.

Augustin Pérez Rubio has a degree in art history from the Universidad de Valencia and has curated over one hundred exhibitions at museums, art centers and biennials, mainly in Europe and Latin America. Before he was Chief curator and Director of MUSAC 2003- 2013, he organised monographic exhibitions of major artists like Pierre Huyghe, Julie Mehretu, Dora García, Pipiloti Rist, Sejima + Nishizawa / SANAA, Elmgreen and Dragset, Harun Farocki, Dave Muller, Ana Laura Aláez, Ugo Rondinone, Azucena Vietes and Lara Almarcegui. Later, as an independent curator, he curated projects that include solo shows by artists such as SUPERFLEX, Sophie Calle, Nestor Sanmiguel Diest, Rosangela Rennó, Carlos Garaicoa, and many group shows thematically related to gender, linguistics, architecture and politics.

He has been the Artistic Director of MALBA, Museo de Arte Latinoamericano de Buenos Aires since May 2014, where he developed a socio-political programme dedicated to female Latin-American artists that already included the exhibitions of Teresa Burga, Annemarie Heinrich and Claudia Andujar plus the ones planned for the future. In addition, Pérez Rubio is also working, together with Andrea Giunta, on a new curatorial script of MALBA’s collection titled VERBOAMERICA a postcolonial revision of the Collection. Recently, he has curated solo shows of artists such as Jorge Macchi, Yoko Ono, Voluspa Jarpa, Carlos Motta and the retrospective show of the collective 'General Idea: Broken Time' which will tour though Latin America during the next couple of years.

Anthony Huberman is Director and Chief Curator of The Wattis Institute in San Francisco. He was Founding Director of The Artist’s Institute in New York and a distinguished lecturer at Hunter College. Previously, he worked as chief curator of the Contemporary Art Museum St. Louis, curator at the Palais de Tokyo in Paris, curator at SculptureCenter in New York, and director of education and public programmes at MoMA PS1 in New York. He has curated major solo exhibitions with artists such as Henrik Olesen, Laura Owens, Sam Lewitt, Jos de Gruyter & Harald Thys, Lutz Bacher, Gedi Sibony, Richard Artschwager, and Olivier Mosset, and has developed long-term research projects with artists such as David Hammons, Joan Jonas, Thomas Bayrle, Haim Steinbach, Rosemarie Trockel, and Jimmie Durham. He has published numerous articles in art periodicals, including Artforum, Frieze, Flash Art, Afterall, and Mousse.

Catalina Lozano is an independent curator and writer. Her research interests and curatorial practice are focused on minor historical narratives that question hegemonic forms of knowledge. She recently co-edited the book Crawling Doubles: Colonial Collecting and Affects with Mathieu K. Abonnenc and Lotte Arndt.

Nora Lawrence is curator at Storm King Art Center, NY, USA, where she founded a yearly exhibition program devoted to emerging and mid-career artists (‘Outlooks’), and created a partnership between Storm King and The Shandaken Project that established Storm King’s first-ever artist residency. She has organised and co-organised exhibitions for Storm King, focused on artists including Dennis Oppenheim, Lynda Benglis, Josephine Halvorson, David Brooks, Virginia Overton, and Thomas Houseago, as well as the group exhibition ‘Light and Landscape’. Prior to joining Storm King, Lawrence worked in the Department of Painting and Sculpture at The Museum of Modern Art, New York, on several exhibitions, including ‘Ernesto Neto: Navedenga’ (2010), which she co-curated; ‘Color Chart: Reinventing Color, 1950 to Today’ (2008); and ‘Focus: Picasso Sculpture’ (2008). She has also worked at the National Gallery of Art, Washington, and at P.S.1 Contemporary Art Center in New York City.

Nora Lawrence has authored and co-authored several publications, including Dennis Oppenheim: Terrestrial Studio (2016), Lynda Benglis: Water Sources (2015), Mark di Suvero (2015), Zhang Huan: Evoking Tradition (2014), Monet’s Water Lilies (2009), Color Chart: Reinventing Color, 1950 to Today (2008), and Armando Reverón (2007). She has taught courses at MoMA, the School of Visual Arts, and the University of Southern California. A graduate of Pomona College, Lawrence received her MA in art history from the University of Southern California, and a Master of Philosophy degree from The Graduate Center, City University of New York.

Francesca Gavin is a writer and curator. She is the Art Editor of Twin and contributing editor at Kaleidoscope, Sleek and AnOther. She was the co-curator of the Historical Exhibition of Manifesta11 in 2016 in Zürich, and has curated exhibitions online and internationally including 'E-Vapor-8', 319 Scholes, Brooklyn, New York, and Site Gallery, Sheffield; 'The Dark Cube', Palais de Tokyo, Paris; and 'The New Psychedelia', MU, Eindhoven. For seven years she was the curator of the Soho House group putting together a collection of over 3000 works. Gavin has written five books including The Book of Hearts, 100 New Artists and Hell Bound: New Gothic Art, and contributed to numerous publications including The Financial Times, Newsweek, Dazed and Confused, Vogue, wallpaper*, Artsy and Mousse.

Marianne Torp is Chief Curator of Contemporary Art and senior researcher at SMK (Statens Museum for Kunst) / National Gallery of Denmark. Recent exhibitions include ‘Ed Atkins, Safe Conduct’ (2016); ‘Danh Vo, Mothertongue’ at the Danish Pavilion (together with Tine Vindfeld), Venice Biennale (2015); 'Lutz Bacher, Into the Dimensional Corridor'; ‘Elmgreen and Dragset, Biography’ and ‘Henrik Olesen, Abandon the Parents’ (all 2014). Torp has been part of a broad selection of networks and committees, among others the Art History Research Committee at Novo Nordisk Foundation (2016-); chair of the evaluation panel at The Royal Academy of Fine Arts, Copenhagen (2014-15); vice president of the Danish Art Council’s Committee on Visual Arts (2007-11) and Committee of the Nordic Art Prize, The Carnegie Art Award (2004-07). As a writer she has contributed to numerous exhibition catalogues and publications. Torp studied art history at the University of Copenhagen and at Columbia University, and cultural management at the University College Sjaelland, Denmark.

Magnus Kaslov holds a BA in Comparative Literature and an interdisciplinary MA in Modern Culture fra Copenhagen University. Kaslov is Developer of Public Programme at SMK National Gallery of Denmark, and curates the series of late night museum events SMK Fridays, that fuses performance programme, artist talks, film screenings, drinks, food and music to a social museum experience. Under the headline SMK² Kaslov also curates an ongoing series of collaborations with artist and other professions to make temporary intervention into the SMK’s permanent collections. Kaslov has previously written and reviewed art for a Danish newspaper and continues to write freelance.

Amanda Hunt is an Assistant Curator at The Studio Museum in Harlem where she manages the Artist-in-Residence programme. Her exhibitions at the Museum include 'Tenses: Artists in Residence 2015-16', 'Rashaad Newsome: THIS IS WHAT I WANT TO SEE', 'Lorraine O’Grady: Art Is…', 'In Profile: Portraits from the Permanent Collection' and the group exhibition 'A Constellation'. Hunt is the curator of 'inHarlem: Kevin Beasley, Simone Leigh, Kori Newkirk, Rudy Shepherd', a multi-site public art initiative to be in four Historic Harlem Parks. Hunt curated 'Portland2014: A Biennial of Contemporary Art', presented by Disjecta Contemporary Art Center in Oregon, and was a curator at the non-profit art space LA ART from 2011–2014. Hunt helped to produce two major initiatives in Los Angeles, including the Pacific Standard Time Performance and Public Art Festival, co-produced by LA ART and the Getty Research Institute, and Made in LA 2012, the first Los Angeles biennial organised by the Hammer Museum in collaboration with LA ART. Hunt also served as Curatorial Assistant for the Los Angeles City Pavilion for the 9th Shanghai Biennale in 2012. She has worked at various galleries and institutions including Whitechapel Gallery, London, UK; Friedrich Petzel Gallery, New York, NY, USA; the Wattis Institute for Contemporary Arts, San Francisco, CA, USA and the Philadelphia Museum of Art, PA, USA. Hunt holds her MA in Curatorial Practice from California College of the Arts in San Francisco.

Julia Draganović is a curator for contemporary art whose interest lies in time based arts, collaborative practices and new artistic strategies, as much as she conceives and works with more classically installed exhibitions. Since November 2013 Draganović is Director of Kunsthalle Osnabrück, Germany. Draganović is the President of IKT – International Association of Curators of Contemporary Art since 2014, member of the committee of the Outdoor Gallery in Gdansk, Poland, since 2008 and board member of No Longer Empty, New York since 2009. From 2009 to 2015 she served as member of the Scientific Committee of MUDAM - Musée d’Art Moderne du Grand Duc Jean, Luxembourg.

Draganović has curated exhibitions in Germany, Italy, Poland, Spain, the USA and Taiwan. Her thematic exhibitions include 'The Enterprise of Art' at PAN Palazzo delle Arti Napoli, Italy, 2008; 'Footsteps into the Future' at Kaohsiung Museum of Fine Art, Taiwan, 2008, and 'In What We Trust?' at Art Miami, FL, USA, in 2010.

She has held various institutional positions, including Curator of the European Studio Programme of the ACC Galerie and the City of Weimar, Germany (1999 -2003), Artistic Director of the Chelsea Art Museum New York (2005-2006) and of PAN – Palazzo delle Arti Napoli (2007-2009), Curator of the International Award of Participatory Art for the Region Emilia-Romagna, Italy (2009 -2013), Curator for curatorial projects at Arte Fiera / Art First Bologna (2010 -2012), Curator for the curatorial projects of Art Miami (2009 -2014) and of Context Art Miami (2013 to 2014).

Together with Claudia Löffelholz Draganović is founding member of the collective LaRete Art Projects.

Draganović has lectured widely in Europe, Latin America and the USA.

Adam Szymczyk is Artistic Director of Documenta 14. He was a co-founder of the Foksal Gallery Foundation in Warsaw, at which he worked as a Curator from 1997 till 2003, when he assumed his new post as Director at Kunsthalle Basel, Switzerland. In Basel, he organised exhibitions including 'Piotr Uklanski: Earth, Wind and Fire' (2004); 'Tomma Abts' (2005); 'Gustav Metzger: In Memoriam' and 'Lee Lozano: Win First Don't Last Win Last Don't Care' (both 2006); 'Micol Assaël: Chizhevsky Lessons' (2007); 'Danh Vo: Where the Lions Are' (2009); 'Moyra Davey: Speaker Receiver' (2010); 'Sung Hwan Kim: Line Wall' (2011); 'Paul Sietsema and Adriana Lara: S.S.O.R.' (both 2012), as well as group shows including 'Strange Comfort (Afforded by the Profession)' (with Salvatore Lacagnina, 2010), 'How to Work/How to Work (More for) Less' (both in 2011); 'Michel Auder: Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder' (2013) and 'Naeem Mohaiemen: Prisoners of Shothik Itihash' (2014).

In 2008 he co-curated with Elena Filipovic the 5th Berlin Biennial for Contemporary Art under the title 'When Things Cast No Shadow' and in 2012 he curated 'Olinka, or Where Movement Is Created' at Museo Tamayo in Mexico City. He is a Member of the Board of the Museum of Modern Art in Warsaw. In 2011, he was a recipient of the Walter Hopps Award for Curatorial Achievement at the Menil Foundation in Houston.

Szymczyk's visit in August 2016 coincides with the presentation of Documenta 14's journal South in Kárášjohka, Sápmi (Karasjok, Norway), allowing the Documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway.

Quinn Latimer is a poet, critic, and an editor. She is the author of Rumored Animals (2012); Sarah Lucas: Describe This Distance (2013); and Film as a Form of Writing: Quinn Latimer Talks to Akram Zaatari (2014). A regular contributor to Artforum and a contributing editor to Frieze, her essays and poems appear in many artist monographs and critical anthologies. Her lectures and readings have also been held widely, including at Chisenhale Gallery, London; Whitechapel Gallery, London; Kunsthalle Zurich; and Astrup Fearnley Museet, Oslo; and her work has been featured at the Serpentine Gallery, London; CRAC Alsace, France; the German Pavilion, Venice Architecture Biennale, Italy; and Qalandia International, Ramallah/Jerusalem. She is the co-editor, with Adam Szymczyk, of Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder (2014); Paul Sietsema: Interviews on Films and Works (2012); and Olinka, or Where Movement Is Created (2013); and the co-editor of No Core: Pamela Rosenkranz (2012). In 2012, she was a Pushcart Prize finalist and an Arts Writers Grant recipient through the Creative Capital | Warhol Foundation programme. Latimer studied at Sarah Lawrence College and Columbia University in New York, and teaches at Haute école d’art et de design (HEAD), Geneva.

Latimer's visit in August 2016 coincides with the presentation of documenta 14's journal South in Kárášjohka, Sápmi (Karasjok, Norway), allowing the documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway.

Candice Hopkins is a curator, writer, and curato­rial advisor for documenta 14. She has held curatorial positions at the IAIA Museum of Contemporary Native Arts, National Gallery of Canada, the Western Front and the Walter Phillips Gallery at the Banff Centre. Her writings on history, art, and vernacular architecture have been published by MIT Press, BlackDog Publishing, Revolver Press, New York University, the Fillip Review and the National Museum of the American Indian, among others. Hopkins has lectured widely including at the Witte de With, Tate Modern, Dakar Biennale, Tate Britain and the University of British Columbia. In 2012 Hopkins was invited to present a keynote lecture on the topic of the 'sovereign imagination' for Documenta 13. 'Sakahàn: International Indigenous Art', co-curated with Greg Hill and Christine Lalonde, was the National Gallery of Canada’s largest survey of recent Indigenous art. Hopkins was co-curator of the 2014 SITE Santa Fe biennial exhibition, 'Unsettled Landscapes'. In 2014 she received the Joan Lowndes award from the Canada Council for the Arts for excellence in critical and curatorial writing.

Hopkins' visit in August 2016 coincides with the presentation of documenta 14's journal South in Kárášjohka, Sápmi (Karasjok, Norway), allowing the documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway.

Britt Gallpen is a writer, curator and arts administrator. She is co-curator of 'iNuit Blanche', an all-night, city-wide circumpolar art project (St. John's, NL, October 2016) as well as the project coordinator on 'Sakkijâjuk', the first major nationally touring exhibition of fine art from Nunatsiavut. Recent curatorial projects include: 'Titigi' (Toronto) and 'ARCTICNOISE' (Vancouver, Toronto, Saskatoon). Her writing has appeared in Canadian Art, Prefix Photo, esse art + opinions and KAPSULA among others. She is the editor of the Inuit Art Quarterly.

Candice Hopkins is a curator, writer, and curato­rial advisor for documenta 14. She has held curatorial positions at the IAIA Museum of Contemporary Native Arts, National Gallery of Canada, the Western Front and the Walter Phillips Gallery at the Banff Centre. Her writings on history, art, and vernacular architecture have been published by MIT Press, BlackDog Publishing, Revolver Press, New York University, the Fillip Review and the National Museum of the American Indian, among others. Hopkins has lectured widely including at the Witte de With, Tate Modern, Dakar Biennale, Tate Britain and the University of British Columbia. In 2012 Hopkins was invited to present a keynote lecture on the topic of the 'sovereign imagination' for Documenta 13. 'Sakahàn: International Indigenous Art', co-curated with Greg Hill and Christine Lalonde, was the National Gallery of Canada’s largest survey of recent Indigenous art. Hopkins was co-curator of the 2014 SITE Santa Fe biennial exhibition, 'Unsettled Landscapes'. In 2014 she received the Joan Lowndes award from the Canada Council for the Arts for excellence in critical and curatorial writing.

Hopkins' visit in August 2016 coincides with the presentation of documenta 14's journal South in Kárášjohka, Sápmi (Karasjok, Norway), allowing the documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway.

Fanni Fetzer holds an MA in Political Sciences, History and Ethnology from the University of Zurich, and an MA in Management of Culture from the University of Basel. Fetzer has been the director of Kunstmuseum Luzern since 2011. Prior to that she held positions at the cultural journal Du, Kunstmuseum Thun and Kunsthaus Langenthal. Her publications and exhibitions have focused on the work of Dias & Riedweg, Candida Hoefer, Sharon Lockhart, Jorge Macchi, Thomas Schuette, Katerina Seda, and Rosemarie Trockel, among others. She has received four Swiss Art Awards for her curatorial activities.

Katharine Stout has been Head of Programme at the Institute of Contemporary Arts since 2013. Previously she was Curator of Contemporary Art at Tate Britain from 1999 to 2013, where she curated numerous commissions, exhibitions and collections displays. In 2001, she co-founded the Drawing Room with Mary Doyle and Kate MacFarlane, now internationally recognised as the major European non-profit organisation for contemporary drawing. Prior to Tate she was the contemporary art consultant at the National Maritime Museum, Greenwich, where she inaugurated the contemporary art programme, she was also the Director of The Tannery, London in the late 1990s. She studied at the Courtauld Institute, University of London, and the Royal College of Art, London. She has written numerous texts on contemporary British and international art. Her book, Contemporary Drawing: 1960s to now was published by Tate in Autumn 2014.

Catherine Morris is the Sackler Family Curator of the Elizabeth A. Sackler Center for Feminist Art at the Brooklyn Museum where, since 2009, she has curated numerous exhibitions including 'Materializing Six Years: Lucy R. Lippard and the Emergence of Conceptual Art' (co-curated with Vincent Bonin); and 'Judith Scott-Bound and Unbound' (co-curated with Matthew Higgs). She has worked on curatorial projects with Judy Chicago, Zanele Muholi, Suzanne Lacy, Matthew Buckingham, Lorna Simpson, Kiki Smith and Rachel Kneebone. Previously an independent curator, Morris organised, among other projects, 'Decoys, Complexes and Triggers: Women and Land Art in the 1970s' at SculptureCenter, Long Island City, New York; '9 Evenings Reconsidered: Art, Theatre and Engineering, 1966' for the List Visual Arts Center, MIT, Cambridge, Massachusetts; and two exhibitions, 'Gloria: Another Look at Feminist Art of the 1970s' and 'Food' at White Columns, New York.

Maria Lind has been the Director of the Tensta Konsthall since 2011 and is the Artistic Director for the 11th Gwangju Biennale 2016. She was the director of the graduate programme at the Center for Curatorial Studies, Bard College, from 2008–10. Before that, she was the director of lASPIS in Stockholm (2005–07) and the director of the Munich Kunstverein (2002–04). Previously she was the curator at Moderna Museet in Stockholm (from 1997–2001) and in 1998 co-curated Manifesta 2, Europe’s nomadic biennial of contemporary art. Responsible for the ‘Moderna Museet Projekt', Lind worked with artists on a series of 29 commissions that took place in a temporary project-space, or within or beyond the Museum in Stockholm. She is currently a professor of research at the Art Academy in Oslo. She is the co-editor of the following books: Curating with Light Luggage (2005) and Collected Newsletter; Taking the Matter into Common Hands: Collaborative Practices in Contemporary Art (2007); European Cultural Policies 2015; The Greenroom: Reconsidering the Documentary and Contemporary Art (2008); Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios (2012); Performing the Curatorial: With and Beyond Art (2012) and Art and the F Word: Reflections on the Browning of Europe (2015), all with Sternberg Press. She edited Abstraction as part of MIT’s and Whitechapel Gallery’s series ‘Documents on Contemporary Art’. In 2010 a selection of Maria Lind’s essays, Selected Maria Lind Writing, spanning from 1997–2010, was published by Sternberg Press, edited by Brian Kuan Wood. Lind won the Walter Hopps Award for Curatorial Achievement in 2009 and was a board member of IKT from 2006–2011.

Margarida Mendes is a researcher, curator and educator. In 2009 she founded the project space The Barber Shop in Lisbon, where she hosts a programme of seminars and residencies dedicated to artistic and philosophical research. Exploring the overlap between cybernetics, philosophy, sciences and experimental film, her personal research investigates the dynamic transformations of materialism and their impact on societal structures and cultural production. She has curated projects in various institutions, among them the Flat Time House, London; KIM? Contemporary Art Center in Riga; CAC Vilnius; Spike Island Centre of Contemporary Art & Design in Bristol; 98 Weeks in Beirut; or Museu de Serralves in Porto. Mendes holds an MA in Aural and Visual Culture from Goldsmiths College of London, and in 2013 she was part of the Synapse Curatorial Research Group included in the 'Anthropocene Project' at Haus der Kulturen der Welt Berlin, publishing in the volume Textures of the Anthropocene: Grain Vapor Ray, edited by MIT Press (Cambridge, MA). Mendes will be accompanying Maria Lind on her research in Oslo in December 2015 as part of OCA's International Visitor Programme.

Thomas J. Lax was appointed Associate Curator of Media and Performance Art at the Museum of Modern Art in 2014. For the previous seven years, he worked at The Studio Museum in Harlem, where he organised over a dozen exhibitions as well as numerous screenings, performances and public programs. Lax is a faculty member at the Institute for Curatorial Practice in Performance at Wesleyan University's Center for the Arts; on the Advisory Committee Vera List Center for Arts and Politics; on the Arts Advisory Committee of the Lower Manhattan Cultural Council; a member of the Catalyst Circle at The Laundromat Project; and on the Advisory Board of Recess. He received his BA from Brown University in Africana Studies and Art/Semiotics, and an MA in Modern Art from Columbia University. In 2015, Lax was awarded the Walter Hopps Award for Curatorial Achievement.

Chantal Pontbriand is a contemporary art curator and critic whose work is based on the exploration of questions of globalisation and artistic heterogeneity. She has curated numerous international contemporary art events: exhibitions, international festivals and international conferences, mainly in photography, video, performance, dance and multimedia installation. She was a founder of PARACHUTE contemporary art magazine in 1975 and acted as publisher/editor until 2007, publishing 125 issues. After curating several major performance events and festivals, she co-founded FIND (Festival International de Nouvelle Danse), in Montreal and was president and director from 1982–2003. She was appointed Head of Exhibition Research and Development at Tate Modern in London in 2010 and founded PONTBRIAND W.O.R.K.S. [We_Others and Myself_Research_ Knowledge_Systems] in 2012. In 2015, she was appointed CEO-Director of MOCA, the Museum of Contemporary Art in Toronto, and curator and advisor of Demo-Graphics 1 (Greater Toronto Area, May-July 2017). In 2013, she received the Governor General of Canada Award for an Outstanding Contribution in the Visual and Media Arts, in 2014, an Honorary Doctorate from Concordia University, Montreal, and the distinction of Officier de l'Ordre des Arts et Lettres in France (Officer of the Arts and Letters Order of France). Most recent exhibitions include: ‘I See Words, I Hear Voices, Dora Garcia’, The Power Plant, Toronto; ‘Mark Lewis Above and Below’, Le Bal, Paris, 2015; ‘PER/FORM: How To Do Things with[out] Words’, CA2M, Madrid; ‘The Yvonne Rainer Project’, Jeu de Paume, Centre d’art de la Ferme du Buisson, and Palais de Tokyo, Paris; ‘Photography Performs: The Body as the Archive’, Centre de photographie d’Île-de-France (CPIF); co-curated with Agency, ‘Dora Garcia, Of Crimes and Dreams’, Darling Foundry, Montreal, 2014; ‘Higher Powers Command’, Lhoist Collection, 2010; ‘HF|RG [Harun Farocki | Rodney Graham]’, Jeu de Paume, Paris, 2009. Recent publications include: Mutations, Perspectives on Photography, Steidl/Paris Photo, 2011; The Contemporary, The Common: Art in A Globalizing World, Sternberg Press, Berlin, 2013; PER/FORM: How To Do Things with[out] Words, CA2M/Sternberg Press, Madrid/Berlin, 2014; PARACHUTE : The Anthology, JRP/Ringier, Zurich, 2012–15 (4 Volumes).

Sudarshan Shetty is an artist and the appointed artistic director and curator of the third edition of Kochi-Muziris Biennale in 2016. He completed his BFA in painting from Sir JJ School of Art, Mumbai in 1985. Moving from a painting concentration to installation early on in his career, Shetty explores the fundamental ontological challenges presented by our immersion in a world of objects. His installations are developed around a rigorous grammar of materials, mechanical exposure, and unlikely juxtapositions of things that may belong to culturally distinct spheres. Moreover, Shetty's object language eschews narrative as well as established symbolism. He has exhibited widely in India and around the world.

His recent shows include 'Mimic Momento', Galerie Daniel Templon, Brussels, 2015; 'Constructs Constructions', curated by Roobina Karode, Kiran Nadar Museum of Art, New Delhi, 2015; 'A Passage', Staatliche Museum, Schwerin, Germany, 2015; 'every broken moment, piece by piece', GALLERYSKE, New Delhi, 2014; 'The pieces earth took away', Galerie Krinzinger, Vienna, 2012; 'Critical Mass', Tel Aviv Museum of Art, Tel Aviv, 2012; 'Indian Highway', Ullens Center for Contemporary Art, Beijing, 2012; 'The Matters Within: New Contemporary Art of India, curated by Betti-Sue Hertz, Yerba Buena Center for the Arts, San Francisco, 2011; 'Paris-Delhi-Bombay', Centre Pompidou, Paris, 2011; 'Sympathy for the Devil', curated by Walter Vanhaerents and Pierre-Olivier Rollin, Vanhaerents Art Collection, Brussels, 2011; 'India Inclusive', World Economic Forum, Davos, 2011; 'Contemplating the Void', curated by Nancy Spector, Solomon R. Guggenheim Museum, New York, 2010; Vancouver Biennale, 2009. Sudarshan Shetty was also a participating artist in the inaugural edition of the Kochi-Muziris Biennale curated by Bose Krishnamachari and Riyas Komu in 2012.

Niels Van Tomme is a curator and writer working on the intersections of contemporary culture, politics, and aesthetics. Currently associated with the Center for Art, Design and Visual Culture in Baltimore, he is the appointed curator of the 7th Bucharest Biennale, 2016. His exhibitions and public programs are shown at venues such as The Kitchen, New York, NY, USA; Värmlands Museum, Karlstad, Sweden; National Gallery of Art, Washington DC, USA; Contemporary Arts Center, New Orleans, LA, USA; Gallery 400, Chicago, IL, USA and Akademie der Künste, Berlin, Germany. His curatorial endeavors have received grant awards from The Andy Warhol Foundation for the Visual Arts, The Elizabeth Firestone Graham Foundation, Lambent Foundation and The Nathan Cummings Foundation, as well as critical press in publications such as Afterall, Artforum, Art in America, Afterimage, and The Wall Street Journal. Van Tomme is a Contributing Editor at Art Papers magazine, while his writings in a wide variety of publications explore contemporary art, literature, and music in relationship to broader cultural developments. His books include Where Do We Migrate To? (2011), Visibility Machines: Harun Farocki and Trevor Paglen (2014), and Aesthetic Justice: Intersecting Artistic and Moral Perspectives (2015), co-edited with Pascal Gielen.

Pooja Sood is a founding member and Director of Khoj International Artists’ Association which is an autonomous, not for profit society committed to experimentation and exchange in the visual arts in India. Under her stewardship, Khoj has grown from an annual event in 1997 to a small but vibrant institution which plays a central role in the development of experimental, interdisciplinary and critical contemporary art practice in India. As Director of Khoj, she has worked actively to build a robust network of experimental spaces across south Asia resulting in the South Asian Network for the Arts (SANA). Pooja Sood’s contribution has been in the field of curating alternative contemporary art practices in India as well as exploring different models of collaboration and institution building in India and South Asia.

Amongst other projects, she was Artistic Director and curator of ’48C. Public Art. Ecology’, the first public art project which commissioned 25 art projects by renowned Indian and international artist across ten public sites in New Delhi. Since 2009 she has been the Director of of ArThinkSouthAsia (ATSA) which is an arts management programme for young cultural leaders in south Asia. She has served on several international juries, most recently being the IAPA award of the Institute of Public Art, Shanghai (2014), the APB Signature prize hosted by the Singapore Art Museum (2014–15) and the Korean Art prize, Seoul (2013).

Pooja Sood has spoken and participated in various forums on Indian contemporary art, art management and South Asian art in India and abroad and is the editor of the SANA (South Asian Network for the Arts) publication, 2014, The Khoj Book 1997-2007 contemporary art practice in India, published by Harper Collins, 2010, Video Art in India, 2003 and is currently working on a book on the project ’48C. Public Art. Ecology’. She is a Chevening scholar on the Clore Leadership Programme, UK (2009-2011).

Li Zhenhu is a curator and artist. Since 2010 he has been the nominator for the Summer Academy at the Zentrum Paul Klee in Bern, Switzerland, as well as for The Prix Pictet in Geneva, Switzerland. He was a member of the international advisory board for the exhibition `Digital Revolution´ (2014) in London, UK. Zhenhua has edited several artists' publications, including Yan Lei: What I Like to Do (Documenta, 2012), Hu Jieming: One Hundred Years in One Minute (2010), Feng Mengbo: Journey to the West (2010) and Yang Fudong: Dawn Mist, Separation Faith (2009). A collection of his art reviews has been published under the title Text in 2013.

Marianne Burki, lic.phil.I, studied History of Art and Architecture at University of Bern; practical studies at New York Film Academy (1996); Culture Management at Stapferhaus Lenzburg, Switzerland(2002); and CAS Change Management, Zürich University of applied sciences - ZAHW (2013). After having worked as a freelance journalist in the period (1982–90) and holding various lectureships for History of Art and Architecture (1989­–2001), she was appointed Project Leader of the Catalogue raisonné Paul Klee. From 1999 to 2005 she was the director and curator of Kunsthaus Langenthal. She has been Head of Visual Arts department at the Swiss Arts Council, Pro Helvetia since November 2005, and as such since 2012 responsible for the Swiss Pavilion at the Art and the Architecture Biennale in Venice, including the recent conception of a funding system for design. Burki is also responsible for the specific funding system for photography, including photobooks, collaboration with magazines and support of launching a new projects for young photographers. In 2002 she produced the film Mariann Grunder. Bildhauerin, that was screened on Swiss Television and at the Solothurn Film Festival 2003. Burki has published texts about Media Art and the Viewer in NZZ and Neue Zürcher Zeitung.

Tim Goossens earned an MA in art history at the KULeuven and Sorbonne (Paris) and master cum laude in Museology at the Ecole du Louvre. He worked as an assistant-curator at MoMA PS1 in New York until 2010. During his tenure at the museum he collaborated -amongst many other shows- on 'Greater New York 2010', a Kenneth Anger retrospective and co-founded the Saturday Sessions performance series. As an independent curator some of Goossens projects include a group exhibition at Nara Roesler in Brazil with Joan Jonas, David Wojnarowicz and Marcos Chavez; an official side project for the Berlin Biennial, a Mary Beth Edelson solo exhibition. He also co-curated the first large scale public sound exhibition in India with work from Yoko Ono and Uri Aran. Tim Goossens is currently working as a curator at The Clocktower Gallery, one of the oldest non-profit art spaces in the US, where he has worked with Patti Smith, Antony Hegarty, Nomi Ruiz, Nancy Holt and Joan Jonas. Since 2014 he has been a professor at the Sotheby's Institute of Art.

Jonathan Watkins has been the Director of Ikon Gallery in Birmingham, UK, since 1999. Previously he worked for a number of years in London, as Curator of the Serpentine Gallery (1995-1997) and Director of Chisenhale Gallery (1990-1995). Watkins has curated a number of large international exhibitions including the Biennale of Sydney (1998); ‘Facts of Life: Contemporary Japanese Art’ (Hayward Gallery, London 2001); ‘Quotidiana’ (Castello di Rivoli, Turin 1999); Tate Triennial (2003); Shanghai Biennale (2006); Sharjah Biennial (2007); ‘Negotiations’ (Today Art Museum, Beijing 2010); and the Guangzhou Triennial (2012). He was part of the curatorial team for ‘Europarte’ (Venice Biennale, 1997); ‘Milano Europa 2000’, (Palazzo di Triennale, Milan 2000); and ‘Riwaq’ (Palestinian Biennial 2007). He also curated the Iraqi Pavilion for the Venice Biennale in 2013. Watkins has written extensively on contemporary art. Recent essays by him have focused on the work of Giuseppe Penone, Martin Creed, Semyon Faibisovich, Yang Zhenzhong, Noguchi Rika, Caro Niederer, Beat Streuli and Cornelia Parker. He was the author of the Phaidon monograph on Japanese artist On Kawara.

Nigel Prince is the Executive Director of the Contemporary Art Gallery in Vancouver, Canada. Prior to this he was Curator at Ikon Gallery in Birmingham, UK, where he was responsible for an international programme, making solo exhibitions and publications with artists including Arturo Herrera, Donald Judd, Olafur Eliasson, Martin Boyce, Shahzia Sikander, Ryan Gander, Victor Man and Susan Philipsz amongst many others. His exhibition of paintings and drawings by Cuban artist Carmen Herrera in 2009 was critically heralded as the ’discovery of the decade’ by several international newspapers. While at Ikon he helped launch many Canadian artists on to an international platform providing them with their first museum shows, in particular Marcel Dzama, Steven Shearer and Roy Arden. He has worked with institutions as diverse as the Pinakothek der Moderne, Munich, Germany; The Power Plant, Toronto, Canada; Kunstmuseum Bonn, Germany; Museum of Craft and Folk Art, San Francisco, CA, USA; Museum Boijmans van Beuningen, Rotterdam, Holland; and the Venice Biennale, Italy.

Diana Campbell Betancourt is an American born curator based in Mumbai. She is the Artistic Director of the Samdani Art Foundation and the Chief Curator of the Dhaka Art Summit, the world’s largest South Asia Focused art festival. She has curated significant projects with South Asian artists such as Shilpa Gupta, Shahzia Sikander, Rashid Rana, Naeem Mohaiemen, Raqs Media Collective, and Asim Waqif, among others. In addition to running the Foundation’s exhibitions and international exchange programs, she is building the Samdani Art Foundation collection ahead of the opening of a permanent space in Sylhet, Bangladesh. Betancourt has also lead the development of the Creative India Foundation, a private foundation supporting Indian sculpture internationally and building India’s first international sculpture park. Betancourt co-curated ‘Energy Plus’, the Mumbai City Pavilion for the 9th Shanghai Biennale in Shanghai, China, and is a curatorial advisor for the upcoming 2015 New Museum Triennial in New York, NY, USA.

Anne Dressen is a curator at ARC, the contemporary art department of the Musée d’Art moderne de la Ville de Paris. Her exhibitions question the unofficial or disregarded artistic practices as compared to the traditional fine arts, by focusing on several topics such as sound, music video, copying and reproduction, the craft or the decorative, in relation to cultural, gender and colonial issues. Her exhibitions include ‘Off the Record’ (2004); ‘Playback’ (2007); ‘Sturtevant. The Razzle Dazzle of Thinking’ (2010); ‘Seconde main’ (2010); ‘La Demeure joyeuse’ (2012); and ‘Decorum. Carpets and tapestries by artists’ (2013), that also was shown at the Power Station of art in Shanghai (2014). In 2015, Dressen will co-curate a retrospective of artist Carol Rama in collaboration with the MACBA in Barcelona, Spain. The exhibition is also scheduled to travel to Helsinki, Finland; Dublin, Ireland; and Turin, Italy, in 2015-16. Her texts have been published in institutional catalogues, artists’ publications and in magazines such as Artforum, Frog, Petunia, Flashart International and The Exhibitionist. In 2014 Dressen was nominated for the ‘Gerrit Lansing Independent Vision Award ‘ by Independent Curators International (ICI), under the direction of Guggenheim Deputy Director Nancy Spector.

Olga Shishko is a curator and a researcher of media culture, and since 2006 Director of the Centre of Culture and Art, also called MediaArtLab, which she founded in 2000. MediaArtLab develops research on different aspects of contemporary art involving media technologies, such as online art and cyberculture. She has curated numerous events, festivals and exhibitions including: ‘NewMediaLogia’ Symposium, Moscow (1994), ‘Pro&Contra’ Symposium, Moscow (2000–12), ‘MediaForum’ Multimedia Art Festival (since 2000) – one of the official programmes of the Moscow International Film Festival (MIFF), the exhibition ‘Transitland – Video Art from Central and Eastern Europe for 20 years: From the Fall of the Berlin Wall to 2009’, Moscow (2010), ‘Viewer' – Gary Hill, Moscow (2010), ‘Expanded Cinema’, Moscow (2011), ‘Immersions:
 Towards the Tactile Cinema’, Moscow (2013), ‘Mocumentary: Reality is Not Enough’, Moscow (2013). Shishko has served in juries of various international exhibitions, like ‘Art on the Net’, Internet Festival, Japan (1998-2000) and ‘Art Vifu’, England (2000).

Jean-Max Colard is an art critic, curator, and a lecturer at the University of Lille 3, where he teaches contemporary literature and its relation to contemporary art. He is a writer for the magazine Les Inrockuptibles, where he is responsible for the arts section. Colard has curated exhibitions such as ‘Perpetual Battle’ at Baibakov Arts Projects in Moscow, Russia (2010); ‘Offshore’ at the Ricard Foundation in Paris, France (2005); and ‘La Nuit des tableaux vivants’ created together with Christian Bernard in Toulouse, France (2009), travelling to Paris (2012) and Geneva, Switzerland (2015). He is currently preparing ‘Song Duras’, an exhibition dedicated to the work of Marguerite Duras scheduled to open at the Centre Pompidou in October 2014. Among his publications are L’exposition de mes rêves (Mamco, 2013).

José Fernández Portal is part of the curatorial team of the 12th Havana Biennial ‘Between the Idea and Experience’ in Havana, Cuba. Portal graduated from Moscow State University with an MA in Philosophy in 1982. From 1982 to 1992 he was a professor at the Tecnological University José Antonio Echeverría in Havana, before he became the Director of the Centro de Desarrollo de las Artes Visuales in Havana, where he organised the First and the Second Saloon of Contemporary Cuban Art. As a curator Portal has broad experience in organising exhibitions involving contemporary Cuban artists, both in Cuba and internationally; as well as local exhibitions presenting international artists. Since 1999 he has been working as a curator at the Wifredo Lam Contemporary Art Center in Havana.

Aimee Lin is the Editorial director of ArtReviewAsia. After receiving her MA in Comparative Literature at Fudan University, Lin has maintained a complex professional identity ranging from journalism, editing, writing, criticism and curating to publication management. She was the founding editor of LEAP, a bilingual magazine on Chinese contemporary art, where she left in 2012 as the acting editorial director. She has been the Editorial Director for ArtReviewAsia, a sister magazine to the British art magazine ArtReview, since its Asia inauguration in 2013. In the same year, she curated Yu Honglei’s third solo show 'Everything Is Extremely Important: There Is Nothing That Will Never Come Back Again' at Magician Space in Beijing, China.

Yury Kopytov is the Deputy Head of Exhibitions Department and Head of Publications Programmes at the Moscow Museum of Modern Art (MMoMA). Among his latest projects is ‘Jan van Toorn. Dialogue with the Public’, an exhibition that was part of the Russia-Netherlands year of cultural exchange in 2013. He was also the editor of the catalogue P183 accompanying the MMoMA exhibition dedicated to street art artist Pavel Pukhov in 2014. Kopytov holds an MA from the Department of History of Visual and Media Arts at the Russian State University for Humanitarians. In 2012 he received the Golden Medal from the Russian Academy of Arts for his contribution to the arts and culture.

Carolyn Christov-Bakargiev is a writer, art historian and curator. Christov-Bakargiev was recently appointed Director of the 14th Istanbul Biennial, Istanbul, Turkey (2015). She has been the Artistic Director of dOCUMENTA (13) (2012); Chief Curator at Castello di Rivoli Museo d’Arte Contemporanea (2002–2008), and its Director in 2009; Artistic Director of the 16th Biennale of Sydney (2008) and Senior Curator at P.S.1 Contemporary Art Center, a MoMA affiliate, New York, NY, USA (1999–2001). The author of publications including Arte Povera (London: Phaidon Press, 1999), she has written extensively on such a movement and on the work of artists such as William Kentridge, Janet Cardiff, and Pierre Huyghe. She curated numerous exhibitions, including among others, ‘On Taking a Normal Situation and Retranslating it into Overlapping and Multiple Readings of Conditions Past and Present’, Antwerp, Belgium (1993), ‘The Moderns’, Rivoli-Turin, Italy (2003), and ‘Faces in the Crowd’, London, UK, and Turin (2004). She co-curated the first edition of the Turin Triennial (2005).

Rasa Antanavičiūtė is the Executive Director of the Nida Art Colony (NAC), a subdivision of the Vilnius Academy of Arts. Located on the Curonian spit in the Baltic Sea five hours away from the Lithuanian capital, NAC was opened in March 2011 with an aim to create favourable conditions for creative contemporary art practices as well as for the implementation of innovations in art education by promoting international cooperation. NAC runs an international artist-in-residence programme, organises and hosts local and international workshops, summer schools, presentations, exhibitions and film screenings. Antanavičiūtė works with art and education project management, the Nida artist-in-residence programme and other issues related to art and education. With a background in art history, her main research interest lies in the history of symbolic public spaces and their function as identity builders, memory constructors and targets of political powers.

Ekaterina Inozemtseva is the Chief Curator and Deputy Director of Multimedia Art Museum, Moscow, Russia (MAMM) since 2011. Founded in 1996 under the name Moscow House of Photography (MAMM), the museum was the first Russian State institution devoted to the art of photography. It was reorganised in 2001 as the State Cultural Institution Multimedia Complex of Contemporary Art/Multimedia Art Museum. During her time at MAMM Inozemtseva has realised more than fifty projects (among others around seminal figures such as Wim Wenders, Chris Marker, Veruschka and Charlie Chaplin). Prior to this post she has been affiliated with several art institutions, such as the National Center for Contemporary Arts, Moscow (NCCA) and Gary Tatintsian Gallery, Moscow, where she worked as exhibition coordinator, and Proun gallery, Moscow, Russia where she was the deputy Art Curator. She also co-curated the exhibition ‘Italian ZERO and the Avant-garde of the 60s’. Inozemtseva holds a PhD from Moscow State Lomonossov University, and is an active writer and critic. She was also the editor of the catalogue of the 4^th Moscow Biennale of Contemporary art.

Claire Mander is the Deputy Director and Curator at The Royal British Society of Sculptors (RBS), an independent artist-led organisation which is the oldest and largest dedicated to sculpture in the United Kingdom. She works with emerging and established contemporary artists and sculptors through collaborations and projects in both the public and private spheres. She has extensive experience in working in various museums, auction houses in London and Paris and not-for-profit arts organisations. Most recently, she set up a contemporary gallery within an existing modern commercial gallery in London, where she curated exhibitions of work by contemporary artists working in all media. Mander obtained her MA from the Courtauld Institute of Art in 2004.

Daria Pyrkina has been the Curator of Exhibitions and Public Events and Head of New Generation Programme at The National Centre for Contemporary Arts (NCCA), Moscow, Russia, since 2001. In 2013 she became the Deputy Director General for artistic and educational affairs of the NCCA. Prior to this post Pyrkina was Assisting Professor at the Moscow State Lomonosov University (2009–2013), a visiting lecturer at the same University from 2007–2008, as well as a visiting lecturer at the Peoples' Friendship University of Russia from 2009–2011. She holds a PhD in Art History and is the author of over seventy publications in Russian, English and Spanish devoted to contemporary art practices in Russia and abroad, and has been a contributor for Moscow Art Magazine, Iskusstvo, Dialogue of Arts, as well as having edited numerous exhibition catalogues.

Josée Drouin-Brisebois is the Senior Curator of Contemporary Art responsible for the collections of Canadian and international Contemporary Art at the National Gallery of Canada, in Ottawa. She organised the Canadian representation at the International Art Exhibition la Biennale di Venezia in 2011 (Steven Shearer's 'Exhume to Consume') and 2013 (Shary Boyle's 'Music for Silence'). She has curated exhibitions by Canadian artists Arnaud Maggs, 'Identification' (2012); Christopher Pratt (2005) and thematic group exhibitions: 'It Is What It Is: Recent Acquisitions of New Canadian Art' (2010–11); 'Nomads' (2009); 'Caught in the Act: The Viewer as Performer' (2008) and 'De-con-structions' (2007). Drouin-Brisebois also co-curated 'Misled by Nature: Contemporary Art and the Baroque' with Catherine Crowston and Jonathan Shaughnessy at the Art Gallery of Alberta, Edmonton, Canada (2012); and 'Spectral Landscape (2012) and The Shape of Things' (2012) with David Liss at the Museum of Contemporary Canadian Art, Toronto, Canada (MOCCA). Her writing has appeared in the publications Barroco Nova: Neo-Baroque Moves in Contemporary Art (Museum London, Artlab Gallery and McIntosh Gallery, 2012); Dominique Rey: Erlking/Pilgrims (Southern Alberta Art Gallery, 2012); Wanda Koop: On the Edge of Experience (Winnipeg Art Gallery, 2010) and Otherworld Uprising: Shary Boyle (Conundrum Press, 2008).

Yuko Hasegawa is the Chief Curator at the Museum of Contemporary Art in Tokyo (MOT), Japan. She is also a professor at the Department of Art Science at the Tama Art University in Tokyo. Her recent projects include 'Space for your Future’ (2007) and 'Architectural Environments for Tomorrow’ (2011) at the Museum of Contemporary Art in Tokyo. At the 21st-Century Museum of Contemporary Art in Kanazawa, Japan (where she also served as Founding Artistic Director), she curated 'Matthew Barney: Drawing Restraint' (2005). She was also the Artistic Director of the 7th International Istanbul Biennial (2001), co-curator of the 4th Shanghai Biennial (2002), commissioner of Japanese Pavilion of 50th edition of the Venice Biennale (2003), co-curator of the 29th São Paulo Biennial (2010) and artistic advisor for the 12th edition of the Venice Architectural Biennale (2010). She has recently served as curator of the 11th Sharjah Biennial in Sharjah, United Arab Emirates (2013).

Christopher Y. Lew is Assistant Curator at MoMA PS1. He joined the museum in 2006, and has organised 'New Pictures of Common Objects', 'Chim↑Pom', 'Clifford Owens: Anthology', 'Jack Smith: Normal Love', and 'Nancy Grossman: Heads (with Klaus Biesenbach)' as well as projects by Edgardo Aragón, Rey Akdogan, Ilja Karilampi and Caitlin Keogh. He has also curated exhibitions and programs in New York City at venues including Artists Space and Aljira, and has written broadly. Prior to joining the Museum, he worked as a Managing Editor at ArtAsiaPacific and held positions at the Aperture Foundation and the Asian American Arts Centre.

Hiromi Kurosawa is the Chief Curator of the 21st Century Museum of Contemporary Art, Kanazawa, Japan. She was appointed by the museum in 2003 and she worked with the artists for the inaugural exhibition ‘The Encounters in 21st Century: Polyphony Emerging Resonance’ (2004-05). She has been curating numerous exhibitions in Kanazawa, which include, among others, ‘Olafur Ellisason: Your Chance Encounter’ (2008), ‘Kazuhiko Hachiya: OpenSky’ (2008), ‘Inner Voices’ (2010), ‘Takashi Homma: New Documentary’ (2011) and ‘Do Ho Suh: Perfect Home’ (2012). Most recently she curated ‘Fiona Tan: Ellipsis’ (2013) and ‘Isabel and Alfredo Aquilizan: Project Another Country’ (2013). In 2012, she was co-curator of ‘City Net Asia’ in South Korea. Kurosawa also works for educational programmes with children from elementary and junior high schools for appreciation and formative activities in the museum. As part of the museum's public programme working with community, she joined the project ‘Kanazawa Art Platform’ in 2008.

Paulina Pobocha is Assistant Curator in the Department of Painting and Sculpture at the Museum of Modern Art (MoMA) in New York, NY, USA. During her time at the museum, she has co-organised the exhibitions ‘Gabriel Orozco’ (2009), ‘Abstract Expressionist New York’ (2010), and ‘Claes Oldenburg: The Street and The Store’ (2013). She has also worked extensively with the museumʼs collection, most recently participating in the reinstallation of the collection galleries with works from 1940 to 1980. With Ann Temkin, she is currently co-organising a Robert Gober exhibition, scheduled to open in the fall of 2014. Prior to joining the curatorial staff of MoMA, Pobocha was Joan Tisch fellow at the Whitney Museum of American Art, New York, where she lectured on a broad range of subjects in contemporary and modern art. In 2011 she was appointed critic at the Yale University School of Art. Pobocha received her BA from Johns Hopkins University in 2000, and her MA in 2003 from the Institute of Fine Arts, New York University, where she is now completing her doctoral dissertation.

Fram Kitagawa is a curator, professor and writer. He is the General Director for Echigo-Tsumari Art Triennial, General Director for Setouchi Triennale 2013 and Acting Director, Chichu Art Museum, Naoshima. Kitagawa is a professor at the Joshibi University of Art and Design in Tokyo. Since his graduation from Tokyo National University of Fine Arts and Music he has organised numerous exhibitions and events on grass-roots level, introducing Japan to works of art previously rarely exhibited inside the country. This included, among others, the 'Antonio Gaudí' exhibition that took place in eleven different cities from 1978-1979. Since 1996 he has acted as the general coordinator for the Echigo-Tsumari Art Necklace Project and as general coordinator for the Echigo-Tsumari Art Triennale, for which he received the Minister of General Affairs' Prize in 2000, and the Minister of Education, Culture, Sports, Science and Technology’s Art Encouragement Prize in 2006. He is also the recipient of the Ordre des Arts et des Lettres from France, the Order of Culture from Poland and the Order of Australia: Honorary Member (AM) in the General Division, among other awards. Kitagawa has initiated numerous art projects related to urban, architectural and regional community development.

Alex Klein is an artist, writer and curator working between Los Angeles, CA, USA, and Philadelphia, PA, USA, where she is the Dorothy and Stephen R. Weber (CHE'60) Program Curator at the Institute of Contemporary Art (ICA) at the University of Pennsylvania, PA. At ICA she co-curated the exhibition 'First Among Equals', and launched the four-part exhibition, publication and programming initiative 'Excursus', with Reference Library, East of Borneo, Ooga Booga and Primary Information. In autumn 2014 she will curate the first major monographic survey of artist Barbara Kasten. Klein is the co-founder of the editorial project and publishing imprint Oslo Editions, which organised and published the lecture series 'CONTRA MUNDUM I-VII' (2010), and is the editor of the critical volume on photography Words Without Pictures (LACMA / Aperture, 2010). Other recent publications include To Be Blunt in How Soon is Now? (Luma Foundation, 2012) and Humanist Correspondence in The Human Snapshot (Sternberg Press, 2013).

Angie Keefer is an artist, writer, editor, amateur engineer and occasional librarian whose speculative non-fiction traces circuitous routes through highly specialised information. Recently she has exhibited or staged her work at Yale Union (YU), Portland, OR, USA; the São Paulo Biennial, São Paulo, Brazil; MoMA, New York, NY, USA and Kunsthal Charlottenborg, Copenhagen, Denmark among others. In May 2013 she will exhibit at the Objectif Exhibitions in Antwerp, Belgium. Along with Dexter Sinister, Keefer is the co-founder of The Serving Library, a non-profit artists' organisation dedicated to publishing and archiving in a continuous loop, and the co-editor of The Bulletins, The Serving Library's bi-annual publication.

Andrea Viliani is the Director of the Fondazione Donna regina per le arti contemporanee/Museo MADRE in Naples, Italy. From 2009 to 2012 he served as the Director of the Fondazione Galleria Civica-Centro di ricerca sulla contemporaneità in Trento, Italy. From 2005 to 2009 he was a curator at the MAMbo-Museo d'Arte Moderna in Bologna and, from 2000 to 2005, the Assistant Curator at Castello di Rivoli-Museo d'Arte Contemporanea in Rivoli-Torino, Italy. In 2010 he was appointed member of the Agent-Core Group of dOCUMENTA (13) and in 2012 he co-curated, with Aman Mojadidi and Carolyn Christov-Bakargiev, a part of dOCUMENTA (13) in Kabul and Bamiyan (Afghanistan).

Ekaterina Degot is an art historian, art writer and curator. Shows she has curated or co-curated include, among others: ‘Body Memory: Underwear of the Soviet Era’ (shown in St Petersburg and Moscow, Russia, Helsinki, Finland and Vienna, Austria, 2000–2004); ‘Struggling for the Banner: Soviet Art Between Trotsky and Stalin’ (New Manege, Moscow, 2008); ‘Citizens, Mind Yourselves: Dimitri Prigov’ (Museum of Modern Art, Moscow, 2008). In 2010, she curated the 1st Ural Industrial Biennial in Ekaterinburg, Russia, under the title ‘Shockworkers of the Mobile Image’, together with David Riff and Cosmin Costinas. In 2011, she curated the exhibition and discussion platform ‘Auditorium Moscow’ with David Riff and Joanna Mytkovska, in collaboration with the Warsaw Museum of Contemporary Art, and in 2012, ‘Art After the End of the World’, the discussional platform of the Kiev Biennial of Contemporary Art Arsenale, Ukraine, and ‘Time/Food’ in Stella Art Foundation in Moscow, with Anton Vidokle and Julieta Aranda. In 2013, she will be curating the First Bergen Assembly in Bergen, Norway, together with David Riff. She is currently teaching at the Moscow Alexander Rodchenko Photography and New Media School. Her books include: Terroristic Naturalism (1998), Russian 20th-Century Art (2000) and Moscow Conceptualism (with Vadim Zakharov, 2005). As an art critic she has contributed to Frieze, Artforum and e-flux magazine.

Juliana Engberg is a curator, writer, publisher and designer. She is the Artistic Director of Australian Centre for Contemporary Art, Melbourne, Australia (ACCA) and the 19th Sydney Biennale (2014). She was the curator of the Melbourne Festival Visual Arts Programme from 2000 to 2006, and in 2007 she was the senior curatorial advisor for the Australian presentations at the Venice Biennale. She inaugurated the ACCA PopUP Program in Venice to coincide with the 54th Venice Biennale (2011). She was the Artistic Director of the Melbourne International Biennial 1999, 'Signs of Life', and Senior Curator of the Art & Industry Biennale, Christchurch, New Zealand (2002). Engberg has worked as a Senior Curator at the Heide Museum of Modern Art, Melbourne, the Assistant Director of the Monash University Gallery and Director of the formative contemporary art space, the Ewing and George Paton Galleries, The University of Melbourne. She is an Adjunct Professor in Architecture, Design and Art at RMIT University, Melbourne and a Professorial Fellow in the Faculty of Art, Design and Architecture at Monash University, Melbourne.

Dessislava Dimova is a writer and curator. She is a Ph.D. candidate at the Institute for Art Studies, Bulgarian Academy of Sciences, Sofia. She holds an MA in philosophy from CRMEP, Middlesex University, London and in Art History from the Bulgarian Academy of Arts, Sofia. In 2010 she curated 'Thank You for Your Understanding – 2', International Antakya Biennial, Antakya, Turkey. Recent projects include 'In 15 minutes everyone will be in the future. An opera' (18th Week of Contemporary Art, Plovdiv Bulgaria, 2012)and 'Anetta Mona Chisa and Lucia Tkacova, Material Culture: Things in our Hands' (Christine Koenig Gallery, Vienna, 2011). Dessislava Dimova is a founding member of Art Affairs and Documents Foundation, Sofia and founding editor of blistermagazine.com. Her first novel The Portrait of the Artist as a Young Man was published in Bulgarian in 2009 (Razvitie, Sofia).

Yuko Hasegawa is the Chief Curator at the Museum of Contemporary Art in Tokyo (MOT), Japan. She is also a professor at the Department of Art Science at the Tama Art University in Tokyo. Her recent projects include 'Space for your Future’ (2007) and 'Architectural Environments for Tomorrow’ (2011) at the Museum of Contemporary Art in Tokyo. At the 21st-Century Museum of Contemporary Art in Kanazawa, Japan (where she also served as Founding Artistic Director), she curated 'Matthew Barney: Drawing Restraint' (2005). She was also the Artistic Director of the 7th International Istanbul Biennial (2001), co-curator of the 4th Shanghai Biennial (2002), commissioner of Japanese Pavilion of 50th edition of the Venice Biennale (2003), co-curator of the 29th São Paulo Biennial (2010) and artistic advisor for the 12th edition of the Venice Architectural Biennale (2010). She has recently served as curator of the 11th Sharjah Biennial in Sharjah, United Arab Emirates (2013).

Barbara London founded MoMA's video exhibition and collection programmes, and has guided them over a pioneering career. Her recent activity at MoMA includes 'Looking at Music 3.0', exploring the influence of music on contemporary art practices, focusing on New York in the 1980s and 90s; 'Mirage', an installation by Joan Jonas; 'Looking at Music: Side 2', featuring artists such as Patti Smith, Jean-Michel Basquiat, Jenny Holzer and Blondie; 'Automatic Update', with installations by Cory Arcangel, Rafael Lozano-Hemmer, Paul Pfeiffer and Xu Bing. She was also responsible for 'Through the Weeping Glass' at the Mütter Museum, Philadelphia, USA and a series of web projects such as 'Stir-fry', China; 'InterNyet', Russia and 'dot.jp', Japan. She has also written and lectured widely.

Koyo Kouoh is an independent exhibition maker and cultural producer educated in Banking Administration and Cultural Management in Switzerland and France. She is the founder and artistic director of Raw Material Company, a centre for art, knowledge and society in Dakar, Senegal. Kouoh has served as agent to Carolyn Christov-Barkagiev’s dOCUMENTA (13). She co-curated ‘Les Rencontres de la Photographie Africaine’ in Bamako in 2001 and 2003. Specialising in photography, video and art in the public space, she has curated numerous exhibitions internationally and written on contemporary African art. Besides a sustained theoretical and exhibition program at Raw Material Company, she maintains a dynamic curatorial activity beyond the African borders. Over the past years she has overseen exhibitions, publications and discursive programmes including contemporary artists, thinkers and writers. Recent exhibitions include ‘Hollandaise: a journey into an iconic fabric’, Stedelijk Museum Bureau Amsterdam, the Netherlands and Raw Material Company (2013); ‘Boulevard du Centenaire Made in China, photography of the Chinese migration to Dakar’, Shanghai Biennial and Raw Material Company (2012) and ‘Chronicle of a Revolt: photographs of a season of protest’, Raw Material Company and Haus der Kulturen der Welt, Berlin (2012). In collaboration with Anne-Marie Bouttiaux and David Adjaye, she curated the contemporary section of ‘GEO-graphics: a map of African art past and present’, an exhibition that celebrated 50 years of African Independence at Palais des Beaux Arts in Brussels, Belgium (2010). She co-curated ‘Make yourself at home’, an exhibition in collaboration with Charlotte Bagger-Brandt for Kunsthal Charlottenborg in Copenhagen, Denmark (2010). The project reflected on the notion of hospitality in contemporary art in the context of international migration. Kouoh was associate curator of SUD, Salon Urbain de Douala (2010), a triennial of art in the public space initiated by the contemporary art centre Doual’art in Douala, Cameroon.

RoseLee Goldberg, art historian, critic, curator and author whose book Performance Art: from Futurism to the Present first published in 1979, pioneered the study of performance art. A graduate of the Courtauld Institute of Art (London University), she was director of the Royal College of Art Gallery in London and curator at The Kitchen in New York. In 1990 she organized ‘Six Evenings of Performance’ as part of the exhibition ‘High and Low: Modern Art and Popular Culture’ at the Museum of Modern Art, New York. Author of Performance: Live Art Since 1960 with Laurie Anderson, she is a frequent contributor to Artforum and other magazines. In 2001-02 Goldberg originated and produced Logic of the Birds, a full length multimedia production by artist Shirin Neshat in collaboration with singer Sussan Deyhim, which premiered at the Lincoln Center Summer Festival in 2002 and toured to the Walker Art Institute in Minneapolis and to Artangel in London. RoseLee Goldberg has lectured extensively at The Architectural Association in London, California Institute of the Arts, Yale, Princeton and Tate Modern, and has taught at New York University since 1987.

Mihnea Mircan is the artistic director of Extra City Kunsthal, Antwerp, where he has recently curated the exhibitions 'A Slowdown at the Museum' and '1:1. Hans van Houweligen and Jonas Staal'. His forthcoming projects are a project with Jean-Luc Moulène and the group exhibition 'Allegory of the Cave Painting'. From 2005 to 2006 he was curator of Le Pavillon, Palais de Tokyo, Paris. At the National Museum of Contemporary Art in Bucharest, he curated exhibitions such as 'Under Destruction', a series of site-specific interventions, 'Sublime Objects' and surveys of the artists Sean Snyder and Jaan Toomik. Other recent curatorial projects include: ‘History of Art, the’, David Roberts Art Foundation, London, 2010; ‘Since we last spoke about monuments’, Stroom Den Haag, 2008; ‘Low-Budget Monuments’, 52nd Venice Biennial, Romanian Pavilion, Venice, 2007. Mircan has recently contributed texts to monographs of Pavel Buchler and Nina Beier, as well as to magazines such as Mousse and Manifesta Journal.

Esa Nickle joined the Performa team in May 2005 as the Biennial Coordinator of the Performa 05 biennial and has since expanded her role as the line producer of Performa commissions, international tours and special events. During her 16 years working in the field she has managed large scale public art events, art education programs, and curatorial projects for the city agencies such as the City of Chicago’s Department of Cultural Affairs and the Greenwich + Docklands International Festival in London. Since arriving in New York in 1998 Nickle has worked with public art consultant Joyce Pomeroy Schwartz, MTA Arts for Transit, managed White Box, a non-profit alternative contemporary arts space in Chelsea and curated several exhibitions and programs on sound art and experimental music. Nickle studied the Sociology of Art at Indiana University and Art History at the City University, London.

Ruba Katrib is the Curator at the SculptureCenter in Long Island City, New York. Previously Katrib was the Associate Curator at the Museum of Contemporary Art (MOCA), North Miami. There she organised the first comprehensive solo museum exhibitions of Cory Arcangel (2010) and Claire Fontaine (2010), and several acclaimed group exhibitions including The Possibility of an Island (2008), Convention (2009), The Reach of Realism (2009), and Modify, as needed (2011). She initiated performance and workshop programs at MOCA and organised the three-day New Methods symposium, which focused on independent artist initiatives throughout Latin America. A follow-up book project is forthcoming. Katrib has contributed texts to a number of publications and written for periodicals such at Artforum, ArtPapers, and Mousse Magazine. Katrib is co-organising an in-depth conference about curatorial practice today, scheduled for the summer of 2012 on the occasion of 20th anniversary of the Center for Curatorial Studies at Bard College.

Elvira Dyangani Ose was recently appointed curator of international art at Tate Modern, London, UK. She is currently a Ph.D candidate in the History of Art and Visual Studies programme at Cornell University, New York, NY, USA. She holds a graduate degree in the Theory and History of Architecture from Universtat Politècnica de Catalunya, Spain. She is a founding member of the Laboratory for Oral Resources in Equatorial Guinea, an independent research group on Equatorial Guinea oral tradition studies and also member of the research group Afroeuropeans at the University of León, Spain. As a freelance curator she developed several interdisciplinary projects, focusing on recovering collective memories, interventions in public space or urban ethnography, most significantly, 'Memoria i Desconcert: Art a Guinea Ecuatorial', 'Urban Emotion o Authentic Fiction'. As a specialist in contemporary African art she has been a guest professor at the University of Barcelona, Spain, and has taken part in lecture cycles addressing African artistic production and contemporary culture. In the last two years she curated an exhibition of contemporary South African artists called 'Olvida quién soy / Erase me from who I am' in collaboration with Tracy Murinik, Khwezi Gule and Gabi Ngcobo and 'Tres scenarios/Three scenarios', both of which took place while she was curator at Centro Atlántico de Arte Moderno, CAAM, Las Palmas de Gran Canaria, Spain. She will also serve as the curator for the next edition of PICHA, a biennial of photography and video scheduled for the autumn of 2012 in Lubumbashi, Democratic Republic of Congo.

Adam Kleinman is a writer, editor, curator, lecturer, sometime performer, and former dOCUMENTA (13) Agent for Public Programming. He was Curator at Lower Manhattan Cultural Council (LMCC), where he created the interpretative humanities program ‘Access Restricted’. At LMCC, Kleinman developed LentSpace, a cultural venue and garden design by Interboro Partners, which repurposed an entire vacant Manhattan block. There, he curated the exhibitions ‘Avenue of the Americas’ (2010), and ‘Points & Lines’ (2009). Kleinman is also a frequent guest tutor at numerous educational institutions internationally as well as a contributor to multiple exhibition catalogues, monographs, anthologies, and magazines including Art-agenda, Artforum, e-flux journal, frieze, Mousse, Texte zur Kunst, and TheWhite Review. Kleinman is currently Editor-in-Chief & Adjunct Curator at Witte de With Center for Contemporary Art (Rotterdam) where he and the team launched WdW Review, a multi-disciplinary arts, culture & politics journal. In addition to these activities, Kleinman often curates thematic exhibitions at Witte de With and likewise programs symposia and other events at the center.

Jonatan Habib Engqvist is a theorist and curator. Recently appointed curator of the Reykjavik Arts Festival 2012, he was previously employed at Södertörn University (2004-07), the Royal Institute of Fine Art, KKH (2006-08) and as curator at Moderna Museet in Stockholm (2008-09). Currently on sabbatical from Iaspis - The Swedish Arts Grants Committee´s International Programme for Visual Artists, where he is project manager for Visual Art. Engqvist has written for and edited journals like Glänta, Ord&Bild, Motiv, Input and Divan. Co-editor of the book Dharavi: Documenting Informalities (Stockholm 2008 & New Dehli 2009), editor in mischief at tsnoK.se and producer of international programs and exhibitions. Recent free-lance projects include ‘Informal Cities’ at the Prince of Wales Museum, ‘Bombay’ (co-curated with Maria Lantz, Anna Erlandsson, Michelle Masucci, 2009), ‘Meriç Algün Ringborg, The Concise Book of Visa Application Forms’, Gallery Naïve (2010) and the exhibition and publication ‘The Nordic Third World Country? - Icelandic Art in Times of Crises’ at Färgfabriken, Stockholm and Färgfabriken Norr, Östersund (2010). Engqvist is also engaged in the artistic research project ‘Thinking through painting’ (2009-).

Rebecca Mazzei is the Deputy Director and Special Projects at the Museum of Contemporary Art Detroit, a five-year-old institution located in the heart of Detroit's Cultural Center neighbourhood. As Deputy Director, Mazzei manages the museum's operations and oversees special projects, including publications, events and offsite curatorial projects. She is the former Assistant Dean at the College for Creative Studies, a private art and design school, and also worked previously as the award-winning Arts and Culture Editor at Metro Times newspaper, Detroit's largest alternative newsweekly. She has written for ARTNews, Raw Vision, Under the Influence and several other publications, and is the author of "Devil's Night In Detroit," The Business of Holidays (The Monacelli Press, 2004). Mazzei is a co-founder of Signal-Return letterpress shop and Bohemian-in-exile, a performance art space, both located in the Eastern Market district, and serves as a Board member of INCA, a Detroit-based residency for Norwegian artists. She received her Master's degree in Modern Art History. Theory and Criticism from the School of the Art Institute of Chicago.

Margarita González Lorente completed her BA in Art History, Faculty of Arts and Letters at the University of Havana in 1985 and received her PhD in the same field from the School of Geography and History, University of Santiago de Compostela, Spain in 1998. She worked as a specialist in the Department of Art and Design from the Ministry of Culture, Current Development Center of Visual Arts until 1999, when she was appointed as director, a position she held until 2005. She has been deputy director of the Center for Contemporary Art Wifredo Lam and has participated in the organization and development of different editions of the Havana Biennial. She has curated exhibitions such as 'Indoor’, on the occasion of the Fourth Biennial of Havana (Gallery Development Center of Visual Arts, 1991), 'drawing, do not forget’ (Centre for Development of Visual Arts, 1993, and Municipal Public Library Alcalá de Henares, Madrid, Spain, 1998), 'Current Cuban Plastic’ (Photocentre Gallery, Union of Journalists of Russia, Moscow and in the Cuban Embassy in Beijing, China, 1996), 'Cuban Art: from canvas and paper’ (Hall Miro, UNESCO Headquarters, Paris, France, 2001), and ‘Latest trends of art in Cuba: 20 artists’ (III International Congress on Culture and Development, International Conference Center, 2003), among others.

Ange Leccia is a former resident of Villa Medici in Roma and Villa Kujoyama in Kyoto, Ange Leccia’s career started in the 1980’s with his 'arrangements'. His works are constantly questioning different media, combining them, mixing them, even exhibiting them through a range of themes such as the sea (La Mer) and other atmospheric elements that are fascinating because of their rhythmic character. Between 2002 and 2009, he directed the film scenography for the shows of Christophe together with Dominique Gonzalez-Foerster. In 2010, he directed his first feature film Nuit Bleue, which was presented at Rotterdam International Film Festival. In 2001, he founded Le Pavillon, Palais de Tokyo’s creation lab, for which he is still the director. Ange Leccia is represented by Galerie Almine Rech in Paris.

Tristan Bera received an MA in philosophy and a BA in art history in 2009. He has a particular interest in decadent aesthetics and crossover exhibitions and has worked on mainstream exhibitions such as ‘Dada’ (2005/06) at the Centre Pompidou, Paris; ‘Richard Wagner: visions d’artistes’ (2005) and ‘Gainsbourg’ 2008 at Cité de la Musique, Paris. He has also worked for fashion sound designer Frédéric Sanchez (2008). Currently, Bera is curating a one-year project at Zürich Kunsthalle titled ‘Human Valley’ after Balzac and ending the editing of a short film based on Bunuel’s Belle de Jour both together with Dominique Gonzalez-Foerster. Bera is currently working at Le Pavillon/Palais de Tokyo’s creative lab.

Roger Buergel was recently appointed the artistic director of the Busan Biennale 2012. He received his education from the Academy of Fine Arts Vienna and studied under the Austrian artist Hermann Nitsch for 3 years. He served as a guest curator for the Museum of Contemporary Art Barcelona and the artistic director of Documenta Ⅻ Kassel. He also curated exhibitions that won critical acclaim, such as ‘Barely Something. On Ai Weiwei’ (2010, Museum DKM, Duisburg, Germany), ‘The Government’ (2003–2005, University Art Gallery Luneburg, Germany; Museum d'Art Contemporary de Barcelona, Spain; Miami Art Central, Miami, FL, USA; Witte de with Center for Contemporary Art, Rotterdam Secession, Rotterdam, the Netherlands) and ‘The Subject and Power’ (2001, Central House of the Art). He taught in Luneburg University (2002–2005, Luneburg) and the Academy of Fine Arts (2007–2009, Karlsruhe, Germany), contributing significantly to the education of young artists.

In her joint position as Executive Director of Rhizome and Adjunct Curator at the New Museum, Cornell tracks developments in contemporary art. She oversees and develops Rhizome's programs, all of which are support the creation, presentation and preservation of emerging artistic practices engaged with technology. Cornell recently curated "Free," her first major exhibition for the New Museum which opened at the New Museum in October 2010. At the New Museum, she has co-curated exhibitions including "The Generational: Younger Than Jesus"; the Museum's inaugural exhibition "Unmonumental"; and has also curated a solo show of works by Young-Hae Change Heavy Industries. In addition to her curatorial work at the New Museum, Cornell organizes the monthly New Silent Series, featuring screenings, events and performances by emerging artists. And, in April 2010, she co-founded conference "Seven on Seven" which pairs artists with seven technologists around the creation of new work. Previously, Cornell worked as a curator and writer in London and New York. She worked in the Andy Warhol Film Project at the Whitney Museum and, from 2002-2004, she served as director of Ocularis, an organization dedicated to avant-garde cinema and experimental video. Her writing has been published in a range of international publications and she has organized events or exhibitions at venues including The Kitchen, Foxy Production, Participant Inc and The Institute of Contemporary Art in London.

Aram Moshayedi is assistant curator of the Gallery at REDCAT and a doctoral candidate in the department of art history at the University of Southern California. Since joining REDCAT in October 2010, he has organized the west coast premier of A.K. Burns and A.L. Steiner’s Community Action Center and curated the first major installation in the United States by Vancouver-based artist Geoffrey Farmer. Between 2005 and 2010, Moshayedi was a curator at LAXART, where he produced exhibitions and public projects with such artists as William Leavitt, Uri Nir, Vishal Jugdeo, Susan Silton, and caraballo-farman. He has contributed texts to numerous exhibition catalogues and has written for Metropolis M, Art in America, Art Lies, Reading Room: A Journal of Art and Culture, Art Papers, Artforum.com, X-Tra Contemporary Art Quarterly, and Bidoun Magazine, for which he is also a contributing editor.

Charles Esche
Director of the Van Abbemuseum, Eindhoven, the Netherlands

Charles Esche is a curator and a writer. He is the Director of the Van Abbemuseum, Eindhoven and co-editor of Afterall Journal and Books, based at Central St.Martins College of Art and Design, London. He is also an advisor at the Rijksakademie, Amsterdam. In the last years, he curated major exhibitions including the 2nd and 3rd Riwaq Biennials, Palestine, 2007 and 2009; the 9th Istanbul Biennial 2005 with Vasif Kortun, Esra Sarigedik Öktem and November Paynter and the Gwangju Biennale 2002 in Korea with Hou Hanru and Song Wang Kyung. Before that he was co-curator of 'Intelligence – New British Art' at the Tate Gallery, London and 'Amateur – Variable Research Initiatives' at Konstmuseum and Konsthall, Göteborg, both in 2000.

From 2000–2004 he was Director of the Rooseum Center for Contemporary Art, Malmö, where he made solo exhibitions with Surasi Kusolwong, Nedko Solakov and Superflex a.o. and group shows including 'Baltic Babel' and 'Intentional Communities'. From 1998–2002 he organised the international art academic research project called 'protoacademy' at Edinburgh College of Art. From 1993–1997 he was Visual Arts Director at Tramway, Glasgow where he curated exhibitions by Elisabeth Ballet, Christine Borland, Roderick Buchanan Douglas Gordon, Jonathan Monk, Stephen Willats and Richard Wright as well as group shows such as Trust and The Unbelievable Truth.

A book of his selected writings, Modest Proposals, was published by Baglam Press, Istanbul in 2005. He has written for numerous catalogues and magazines including The Netherlands, for example (ed.), JP Ringier, 2007; Collective Creativity, Fredericianum, Kassel, 2006; Artur Zmijewski, Hatje Cantz Verlag, 2005; Shifting Map, NAI, Rotterdam, 2004. He has written for art magazines such as Artforum, Frieze, Parkett and Art Monthly among others.

Eungie Joo spearheaded the Museum as Hub project at the New Museum, New York, NY, USA, a partnership of six international arts organizations that supports art activities and experimentation; explores artistic, curatorial, and institutional practice; and serves as an important resource for the public to learn about contemporary art from around the world. As part of the Museum as Hub, Joo commissioned the yearlong Night School project by Anton Vidokle; a 'Post Living Anti Action Theater' (PoLAAT) residency with My Barbarian; and launched the Propositions seminar series — a public forum that considers contemporary artists's ideas in early development; among other commissions. In 2009, she served as commissioner for the Korean Pavilion at the 53rd Venice Biennale, presenting the solo exhibition, 'Condensation: Haegue Yang'. Joo was previously Director and Curator of the Gallery at REDCAT, Los Angeles, from 2003 to 2007. She received the Walter Hopps Award for Curatorial Achievement in 2006.

As a curator Søren Grammel has been responsible for numerous exhibitions in contemporary art spaces, which he prepared alone or with others, among them 'Telling Histories' (2003) and 'Total motiviert' (2003) at the Kunstverein München, the 'Videonale 9' in Bonn (2001), 'Raus hier! Eine Ausstellung und Konferenz zum Thema Weggehen' (2002) for Germinations Europe in Białystok (Poland), the research project 'We invite all' as a contribution to 'Whatever happened to social democracy' (2005) at the Rooseum in Malmø, or the shows 'Eine Munition unter anderen' (2000) and 'Kino der Dekonstruktion' (1999-2000) at the Frankfurter Kunstverein. In 2005, he published the theoretical book 'Ausstellungsautorschaft', Frankfurt am Main. He taught at the Kunsthochschule Kassel (lecture series 'Working as a curator') and held seminars at the Umeå Academy of Fine Arts and the Kunstakademie München. Since 2005, he has held the post of Artistic Director of the Grazer Kunstverein; the exhibitions there include 'Eine Person allein in einem Raum mit Coca-Cola-farbenen Wänden', 'Idealismusstudio', 'Never for money, always for love', 'Es ist schwer, das Reale zu berühren', or 'traurig sicher, im Training'. The show 'Die Blaue Blume' was listed among the best themed shows of 2007 by the magazine frieze. His website offers a complete catalogue of his curatorial projects and publications.

What, How & for Whom/WHW is a curatorial collective formed in 1999. Its members are curators Ivet Ćurlin, Ana Dević, Nataša Ilić and Sabina Sabolović, and designer and publicist Dejan Kršić. WHW organizes a range of production, exhibition and publishing projects and since 2003 directs Gallery Nova in Zagreb. What, how and for whom, the three basic questions of every economic organization, concern the planning, concept and realization of exhibitions as well as the production and distribution of artworks and the artist's position in the labor market. These questions formed the title of WHW's first project in 2000 in Zagreb, and became the motto of WHW's work and the title of the collective.

Among WHW's exhibitions are: 'What, How & for Whom, HDLU, Zagreb, 2000; Kunsthalle Exnergasse, Vienna, 2001; 'Broadcasting project, dedicated to Nikola Tesla', Technical Museum, Zagreb, 2002; 'Looking Awry' Apexart, New York, 2003; 'Repetition: Pride and Prejudice', Gallery Nova, Zagreb, 2003; 'Side-effects', Salon of Museum of Contemporary Art, Belgrade, 2004; 'Normalization', Gallery Nova, Zagreb, 2004; 'Collective Creativity', Kunsthalle Fridericianum, 2005; 'Normalization, dedicated to Nikola Tesla', Gallery Nova, Zagreb, 2006; 'Here and Now Real, Not Yet Concrete', Mala Galerija, Museum of Modern Art, Ljubljana, 2006; 'Ground Lost', Forum Stadtpark, Graz & Gallery Nova, Zagreb, 2007; 'All Dressed Up With Nowhere to Go', Gallery TranzitDisplay, Prague, 2007; 'Vojin Bakić', Gallery Nova & Grazer Kunstverein, 2007/2008; 'What keeps Mankind Alive?', 11th Istanbul Biennial, Istanbul, 2009; 'Hungry Man, Reach for the Book. It Is a Weapon', Printed Matter, New York, 2010; 'Ground Floor America', Lakeside - Klagenfurt and Den Frie - Copenhagen, 2010; 'Art Always Has Its Consequences', former building of MOCA Zagreb, 2010. Currently, WHW is curating the Croatian pavillion for 54th International Art Exhibition, La Biennale di Venezia.

Lorenzo Benedetti studied Art history at the University 'La Sapienza' in Rome and attended the 'Curatorial Training Programme' at De Appel Foundation in Amsterdam. Since the late nineties he has curated several exhibitions with emphasis on architecture and urbanism. In 2005 he founded the Sound Art Museum in Rome, a space dedicated to sound in visual art. Benedetti has been the director of the art centre Volume! in Rome (2002-06) and a curator at the Museum Marta Herford, in Herford, Germany (2006-08). He is guest curator at the Fondazione Pastificio Cerere in Rome and La Kunsthalle in Mulhouse, France. His recent projects include 'Eurasia, Geographic Cross-over in Art', Mart, Rovereto, Italy; 'Cabinet of Imagination', Netwerk, Aalst, Belgium; 'Der eigene Weg, Perpektiven Belgischen Kunst', MMK Kuppersmuhle, Duisburg, Germany; 'La Notte and The Garden of the Forking Paths', La Kunsthalle, Mulhouse, France.

David Elliott is a curator, writer, broadcaster and museum director primarily concerned with modern and contemporary art. Elliott was Director of the Museum of Modern Art in Oxford, England from 1976-96, Director of Moderna Museet in Stockholm, Sweden from 1996-2001, the founding Director of the Mori Art Museum in Tokyo, Japan from 2001-06 and, in 2007 the first Director of Istanbul Modern, Turkey. From 1998-2004, he was President of CIMAM (the International Committee of ICOM for Museums and Collections of Modern Art) and in 2008, he was the Rudolf Arnheim Guest Professor of Art History at Humboldt University, Berlin. Elliott is Artistic Director for the 17th Biennale of Sydney, 'THE BEAUTY OF DISTANCE: Songs of Survival in a Precarious Age' which will take place 12 May to 1 August 2010

Elizabeth Thomas is Phyllis Wattis MATRIX Curator at Berkeley Art Museum, where she directs the museum's MATRIX series of contemporary projects by international artists, including recent and upcoming exhibitions with Paul Chan, Martha Colburn, Omer Fast, Mario Garcia Torres, Rosalind Nashashibi, Trevor Paglen, Olivia Plender, Tomas Saraceno, Allison Smith, and Tris Vonna-Michell, among others. Previously, she was an independent curator and writer based in Pittsburgh, PA, organizing 'The Believers', a collaboration with Nato Thompson at MassMoCA, North Adams, USA; The 'F' Word at The Andy Warhol Museum, Pittsburgh, USA; and 'Empathetic' at Temple Gallery, Tyler School of Art, Philadelphia, USA. As Associate Curator of Contemporary Art at Carnegie Museum of Art, Pittsburgh, USA, she worked intensively on the 2004-5 Carnegie International, as well as overseeing a series of project exhibitions with artists such as Cory Arcangel/Paper Rad, Edgar Arceneaux, Jesse Bransford, Omer Fast, Christian Jankowski, Zon Ito/Ryoko Aoki, and Paul Wood/John Harrison. She also served as curatorial fellow at the Walker Art Center, Minneapolis, USA, was a founding editor of the Chicago arts and culture magazine, TenbyTen, and was program coordinator at the Washington Project for the Arts, Washington, DC, USA. She received her MA in Modern and Contemporary Art History, Theory and Criticism from The School of the Art Institute of Chicago, USA and her BA in Anthropology and Art History from George Washington University, Washington, DC, USA. Ms. Thomas has written for numerous catalogues and publications, and lectures often to audiences in museums, universities, and other public venues. She has served as nominator or jurist for many national awards and grants, including Creative Capital, Alpert Awards, Anonymous Was a Woman, and the Heinz Endowments, among others.

Adam Szymczyk is Artistic Director of Documenta 14. He was a co-founder of the Foksal Gallery Foundation in Warsaw, at which he worked as a Curator from 1997 till 2003, when he assumed his new post as Director at Kunsthalle Basel, Switzerland. In Basel, he organised exhibitions including 'Piotr Uklanski: Earth, Wind and Fire' (2004); 'Tomma Abts' (2005); 'Gustav Metzger: In Memoriam' and 'Lee Lozano: Win First Don't Last Win Last Don't Care' (both 2006); 'Micol Assaël: Chizhevsky Lessons' (2007); 'Danh Vo: Where the Lions Are' (2009); 'Moyra Davey: Speaker Receiver' (2010); 'Sung Hwan Kim: Line Wall' (2011); 'Paul Sietsema and Adriana Lara: S.S.O.R.' (both 2012), as well as group shows including 'Strange Comfort (Afforded by the Profession)' (with Salvatore Lacagnina, 2010), 'How to Work/How to Work (More for) Less' (both in 2011); 'Michel Auder: Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder' (2013) and 'Naeem Mohaiemen: Prisoners of Shothik Itihash' (2014).

In 2008 he co-curated with Elena Filipovic the 5th Berlin Biennial for Contemporary Art under the title 'When Things Cast No Shadow' and in 2012 he curated 'Olinka, or Where Movement Is Created' at Museo Tamayo in Mexico City. He is a Member of the Board of the Museum of Modern Art in Warsaw. In 2011, he was a recipient of the Walter Hopps Award for Curatorial Achievement at the Menil Foundation in Houston.

Szymczyk's visit in August 2016 coincides with the presentation of Documenta 14's journal South in Kárášjohka, Sápmi (Karasjok, Norway), allowing the Documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway.

Studied Opera and lived in europe from 1983 to 97. Worked as artist until 97 and exhibited widely among other places; Air de Paris, France; Massimo de Carlo, Milan, Italy; Schipper&Krome, Berlin, Germany, ARS Futura, Zurich, Switzerland. In 1997 inaugurated CAPACETE in Rio de Janeiro, Brazil, as a production agency and a research residency program. (www.capacete.net).

Maria Lind has been the Director of the Tensta Konsthall since 2011 and is the Artistic Director for the 11th Gwangju Biennale 2016. She was the director of the graduate programme at the Center for Curatorial Studies, Bard College, from 2008–10. Before that, she was the director of lASPIS in Stockholm (2005–07) and the director of the Munich Kunstverein (2002–04). Previously she was the curator at Moderna Museet in Stockholm (from 1997–2001) and in 1998 co-curated Manifesta 2, Europe’s nomadic biennial of contemporary art. Responsible for the ‘Moderna Museet Projekt', Lind worked with artists on a series of 29 commissions that took place in a temporary project-space, or within or beyond the Museum in Stockholm. She is currently a professor of research at the Art Academy in Oslo. She is the co-editor of the following books: Curating with Light Luggage (2005) and Collected Newsletter; Taking the Matter into Common Hands: Collaborative Practices in Contemporary Art (2007); European Cultural Policies 2015; The Greenroom: Reconsidering the Documentary and Contemporary Art (2008); Contemporary Art and Its Commercial Markets: A Report on Current Conditions and Future Scenarios (2012); Performing the Curatorial: With and Beyond Art (2012) and Art and the F Word: Reflections on the Browning of Europe (2015), all with Sternberg Press. She edited Abstraction as part of MIT’s and Whitechapel Gallery’s series ‘Documents on Contemporary Art’. In 2010 a selection of Maria Lind’s essays, Selected Maria Lind Writing, spanning from 1997–2010, was published by Sternberg Press, edited by Brian Kuan Wood. Lind won the Walter Hopps Award for Curatorial Achievement in 2009 and was a board member of IKT from 2006–2011.

Nicky Hamlyn studied fine art at Reading University. His films have been shown at venues and screenings around the world. His book Film Art Phenomena (2003), a survey of experimental film and video, was published by the British Film Institute. His is a senior lecturer in Video Arts Production and Visual Theory at the University for Creative Arts, Maidstone, UK and visiting lecturer at the Royal College of Art, London, UK. He wrote an essay on the American filmmaker Stan Brakhage's Roman Numeral films in David James (ed), Stan Brakhage: an American Filmmaker, Temple University Press, 2004.

Suman Gopinath is a curator and founder/director of Colab Art & Architecture based in Bangalore, India (2005). She worked in a private gallery for many years and studied at Goldsmiths, University of London, UK, before setting up Colab. Suman has collaborated with Grant Watson and Anshuman Dasgupta on the exhibition Santhal Family: Positions around an Indian Sculpture, Muhka - Museum of Contemporary Art, Antwerp, Belgium (2008); she was invited to speak on Museums of the Future, a series of talks organized by Julia Peyton-Jones and Hans Ulrich Obrist at the Basel Art Fair, Miami, USA (2007); she co-curated Horn Please: Narratives from Contemporary Indian Art, Kunstmuseum Bern, Switzerland (2007-08); she was invited curator for the Lyon Biennale (2007), The History of a Decade That Has Not Yet Been Named, curated by Stephanie Moisdon and Hans Ulrich Obrist; she was networking curator from India for the Singapore Biennial (2006). She curated Home and the World (a series of films), Retrospective as Artwork, City Park with Grant Watson for Project Art Centre, Dublin, Ireland (2002-05). Other collaborations:The Cork Artists Collective for the Festival of Cork, the European Capital of Culture (2005); Room for Improvement (India, 2001); and Drawing Space with inIVA and The Victoria & Albert Museum, UK (2000-01). Suman's essays have appeared inFlash Art, Italy & USA; Modern Painters, USA; Art Review, UK; the catalogue of the third Fukuoka Asian Art Triennale, Japan, (2000); Changing States, inIVA, UK (2004); Independent Practices, UK (2002).

Grant Watson is a curator based in Antwerp working at the Museum van Hedendaagse Kunst Antwerpen (MuHKA). He is involved in curating exhibitions and artist projects at the museum including the recent Santhal Family positions around an Indian sculpture and Cornelius Cardew, as well as organising Keywords an ongoing lecture series. He was previously the Curator of Visual Arts at Project in Dublin between 2000 and 2005 where his programme focused on commissioning solo projects from contemporary Irish and international artists as well as occasional group exhibitions such as Communism in 2005 and Enthusiasm for Frieze Projects in 2006. He recently co edited the book Make Everything New: A Project on Communism published by Book Works, London, and was "Visiting Curator" for Documenta 12 where he researched the participation of contemporary Indian artists in the exhibition. He studied Curating and Visual Cultures at Goldsmiths College London.

Ivo Mesquita is a curator and, since 1996, a Visiting Professor at the Center for Curatorial Studies, Bard College. He is the curator for the 2008 São Paulo biennial and since 2006, the Chief Curator at Pinacoteca do Estado, in São Paulo. Ivo Mesquita was the Researcher, Assistant Curator (1980-88), and the Artistic Director (1999-2000) for the Fundação Bienal de São Paulo; Artistic Director, Museu de Arte Moderna, São Paulo (2001-02). Among the exhibitions curated by Ivo Mesquita are Jorge Guinle, 20^th São Paulo Bienal (1989); Desire in the Academy, 1847-1916, Pinacoteca do Estado, São Paulo (1991); Cartographies, Winnipeg Art Gallery (1993); Daniel Senise: The Enlightening Gaze, MARCO, Monterrey (1994); Body and Space, Museu de Arte de São Paulo (1995); Stills: works from the Marielouise Hessel Collection, CCS-Bard College, (1997); Alair Gomes, fotógrafo, Museu da Imagem e do Som, São Paulo (1999); Iñigo Manglano-Ovalle: Climate, Fundación, "la Caixa", Madrid, (2003); Voyage to Dakar: Three artists from the Américas, VI Dakar Biennale - DakArt 2004; Pablo Siquier, Palácio Velazquez/Museo Reina Sofia Madrid, (2005). Co-curator, Roteiros, 24th São Paulo Bienal (1998); inSITE97 andinSITE2000, San Diego/Tijuana; and F[r]icciones, Museo Reina Sofia, Madrid (2000). Publications include Leonilson: use é lindo, eu garanto (1997/2006), Daniel Senise: ela que não está (1998), F[r]icciones (with Adriano Pedrosa, 2001), Eliane Prolik: Noutro Lugar (2005) and catalogue essays.

Peter Eleey is Curator at the Walker Art Center in Minneapolis, Minnesota, where he recently organized an exhibition surveying the visual art of the dancer and choreographer Trisha Brown. Prior to joining the Walker, he was Curator & Producer at Creative Time in New York, where he curated a wide range of multidisciplinary programs including exhibitions, projects and commissions with Mike Nelson, Cai Guo-Qiang, Jenny Holzer, William Forsythe, Doug Aitken, Jim Hodges, Shirazeh Houshiary and Haluk Akakçe, among others. He has also organized multi-artist projects and exhibitions for Creative Time such as The Dreamland Artist Club (2004 - 2005).

Frank Lubbers is an international exhibition organiser and art adviser. He has a degree in art education, and also studied art at the Rijksakademie in Amsterdam and philosophy at Amsterdam University. From 1983 to 1989 he was curator at the Fodor Museum, a department of the Stedelijk Museum in Amsterdam. Thereafter he worked as deputy director and chief curator at the Van Abbemuseum in Eindhoven until 2006 when he decided to pursue an independent career. Lubbers has organised exhibitions of numerous international contemporary artists such as Marcel Broodthaers, Rodney Graham, James Coleman, Mike Kelley, David Claerbout, Matt Mullican, Marlene Dumas, Rob Scholte, René Daniëls and Aernout Mik. Since 2006 he is the artistic director of Museum De Wieger in Deurne, the Netherlands, and currently, he is co-organiser of NIET NORMAAL (Not Normal, Difference on Display) a large international contemporary art exhibition which will take place in Amsterdam in 2009. Furthermore, he is an adviser on quality management for higher art education in the Netherlands. His most recent exhibition was From 60 to 7 - The Politics of the "private", which he curated in 2007 for the Henie Onstad Art Centre in Oslo. His personal favourite is Un coup de dés, an exhibition based on the poem by Mallarmé, for which he gathered artists as diverse and close as Marcel Broodthaers, Jan Vercruysse, Robert Barry, Douglas Gordon, Rodney Graham and Donald Judd. He is president of the artistic advisory board of Museum Jan Cunen in Oss and sits on the board of MU in Eindhoven, a multidisciplinary institute for international contemporary art, pop culture, design, new media and architecture. Furthermore, he is president of Packed in Brussels, an institution for the preservation and cataloguing of art in electronic media.

She studied art history, European literary and historical studies, and museum studies in London (at the Courtauld Institute of Art, King's College, and City University respectively). She is currently curator of Contour 2009. During 2006 and 2007 she was the artistic director of Argos - Centre for Art & Media, in Brussels. Previously she was founding director of the Deste Foundation's Centre for Contemporary Art in Athens (1997-2003). At Argos, Gregos organised a number of exhibitions, lectures and events including, among others, the group exhibition Being in Brussels, solo shows of Clemens von Wedemeyer & Maya Schweizer, the Otolith Group, Lonnie van Brummelen & Siebren de Haan (with Lawrence Weiner), and the Dutch architects MVRDV. While at Deste, Gregos organised numerous exhibitions drawn from the Dakis Joannou collection such as the trilogy Global Vision and Shortcuts as well as independent projects such as Fusion Cuisine, a survey of post-feminist art (2002). As an independent curator Gregos has curated numerous solo and group exhibitions in several institutions, including Channel Zero at the Netherlands Media Art Institute, Amsterdam (2004), and Britannia Works for the British Council (Athens, 2004). In 2005 she was co-curator of the ground breaking project Leaps of Faith, an international exhibition of newly commissioned work which took place on the Green Line and both sides of the city of Nicosia, Cyprus. In 2006 Gregos was the curator of the 6th E V+ A biennial in Ireland and co-curator of the Project Rooms at Artissima art fair, Turin. Gregos has also authored numerous artists' catalogues, and is a regular contributor to Contemporary, London and Flash Art international as well as other international art periodicals. In 2007, she edited a collective artists' book entitled The Residents featuring 46 foreign Brussels-based artists. Gregos is also a visiting lecturer at HISK, the Higher Institute of Fine Arts, Antwerp.

Jonathan Watkins has been the Director of Ikon Gallery in Birmingham, UK, since 1999. Previously he worked for a number of years in London, as Curator of the Serpentine Gallery (1995-1997) and Director of Chisenhale Gallery (1990-1995). Watkins has curated a number of large international exhibitions including the Biennale of Sydney (1998); ‘Facts of Life: Contemporary Japanese Art’ (Hayward Gallery, London 2001); ‘Quotidiana’ (Castello di Rivoli, Turin 1999); Tate Triennial (2003); Shanghai Biennale (2006); Sharjah Biennial (2007); ‘Negotiations’ (Today Art Museum, Beijing 2010); and the Guangzhou Triennial (2012). He was part of the curatorial team for ‘Europarte’ (Venice Biennale, 1997); ‘Milano Europa 2000’, (Palazzo di Triennale, Milan 2000); and ‘Riwaq’ (Palestinian Biennial 2007). He also curated the Iraqi Pavilion for the Venice Biennale in 2013. Watkins has written extensively on contemporary art. Recent essays by him have focused on the work of Giuseppe Penone, Martin Creed, Semyon Faibisovich, Yang Zhenzhong, Noguchi Rika, Caro Niederer, Beat Streuli and Cornelia Parker. He was the author of the Phaidon monograph on Japanese artist On Kawara.

Vasif Kortun is the curator and the director of Platform Garanti Contemporary Art Center, in Istanbul. His texts have appeared in many different books, magazines and exhibition catalogs.Jahresring 51: Szene Turkei: Abseits aber Tor, a book on Turkey co-authored with Erden Kosova was published in 2004. The co-curator of the 9^th Istanbul Biennial in 2005, Kortun received the 9^th annual Award for Curatorial Excellence given by the Center for Curatorial Studies in 2006. He is was the co-curator of the Taipei Biennial 2008.

Leire Vergara is an exhibition curator at Sala Rekalde, a contemporary art space in Bilbao. From 2002 to 2005, she co-directed together with Peio Aguirre the independent art production structure D.A.E (Donostiako Arte Ekinbideak) with base in Donostia-San Sebastián. During this period, artists such as Phil Collins, Susan Philipsz, Asier Mendizabal, Asier Pérez, Ainara García, Iñaki Garmendia, Jakob Kolding and Lise Harlev developed new productions. She participated together with Peio Aguirre, Gorka Eizagirre and Xabier Salaberria in Manifesta 5, Donostia-San Sebastián with the research project Film Ideal Siempre. She has participated in educational workshops and projects such as Dispositive Workshop at Kunstverein München (2004) and Cork Caucus, Cork (2005) and has been involved in the coordination of two workshops in Arteleku: We rule the school, (September-October 2005) and Enthusiasm, (February 2006). She has contributed to art and cultural magazines and art catalogues.

Marco de Michelis is the Dean of the Faculty of Arts and Design at the IUAV University of Venice and a member of that faculty's PhD programme "Theories and History of the Arts." Having earned his degree in 1969 at the Istituto Universitario di Architettura di Venezia, de Michelis has since taught History of Architecture within that institution working closely with Manfredo Tafuri. A former scholar at the Getty Center for the History of Arts in Santa Monica, at the Bauhaus University in Weimar, at the Canadian Centre for Architecture in Montreal, and at the Institute of Fine Arts and Cooper Union in NYC, de Michelis has focused on the major protagonists of architecture in his research - including Walter Gropius, Ludwig Hilberseimer, Leberecht Migge, Luis Barragan, Rudolf Schindler, Carlo Scarpa, Aldo Rossi among others. De Michelis contributes regularly to international journals including Domus, Casabella, Abitare and Lotus International. Currently, he devotes his research to the crossover in contemporary art and architecture.

Carmine worked at the Kunstraum Walcheturm in Zürich and has organised exhibitions for various institutions such as 999 (1999) and Updating Landscapes (2003) for the Centro d'Arte Contemporanea Ticino, the exhibition Body Proxy about Norma Jeane (Helmhaus Zürich, Swiss Institute New York, and Kunstverein Freiburg, 2004/5), and the painting trilogy Fois Gras (Centre Culturel Suisse in Paris, 2007). He has also initiated a number of independent projects like Unloaded (2002) in former Swiss-army bunkers and the mobile platform zimmerfrei. He has contributed to various magazines (Kunst-Bulletin, Frieze, Parkett), written for catalogues and edited publications (PSYOP Post 9/11 Leaflets with the artist Christoph Büchel, 2005). Since March 2007 he is the director of the Kunst Halle St. Gallen.

In 1985 Fernandez finished the course "Modern Language and Literature" at the Faculty of Science of Language at the University of Porto. Between 1987 and 1990 he was a member of the Board of the Portuguese Association of Linguistics. He obtained the aggregation MA in Portuguese Phonology at the Lisbon University in 1992. Between 1987 and 1995 he was a professor and research fellow in Linguistic Studies at the Politechnical Institute in Porto. Between 1992 and 1996 Fernandez was a freelance commissioner of three editions of the Journal of Contemporary Art in Porto. In this period he also independently commissioned several exhibitions: Peninsulares which took place in 8 different galleries in Lisboa, Porto, Madrid, Valencia and Barcelona (1995), Hors catalogue(Maison de la Culture d'Amiens, France, 1996) and the exhibition Mais Tempo, Menos História (Fundação de Serralves, 1996). Fernandez has also organized and commissioned the Portuguese representation at the 1st Biennial of Johannesburg (1995) and the 24^thBiennial of São Paulo (1998). He was a member of the Jury of the Visual Art Award União Latina between 1996 and 1999. Fernandez has published several texts in Portuguese and international artist catalogues. He is a member of the IKT (Internationale Kunstausstellungsleiter - Tagung). In 1996 he was nominated Assistant Director of the Serralves Museum of Contemporary Art in Porto. In January 2003 he was appointed Director of the Museum.

Since January 2006, Sophie von Olfers is assistant curator at Witte de With in Rotterdam, where she has worked on the group exhibition Don Quijote, the solo project and publication of Danish artist Jesper Just and, a series of debates on national representation (2007), as well as the mid-career exhibition of Liam Gillick. In 2007 she coordinated the German Pavilion at the Venice Biennale, together with curator of the Pavilion and director of Witte de With, Nicolaus Schafhausen. Previous to her position at Witte de With, Sophie worked with the London-based artist group The Artist Placement Group, together with founding members and artists John Latham and Barbara Steveni. She curated an archive exhibition and organized a conference on the group's history and legacy at Tate Britain. She did her MA in Curatorial Studies at Goldsmiths College, London.

Diserens has graduated from Art history studies, University Paris, and Independent Study Program of the Whitney museum of American art. She was curator at IVAM, Valencia; freelance curator and founder of Carta Blanca Editions, Madrid/Paris; Director of the Museums of Marseille, and then of the Fine Arts Museum of Nantes; Currently she is Director of Museion, Bolzano.

Shamim M. Momin was appointed Associate Curator at the Whitney Museum of American Art in 2004, and has been Branch Director and Curator of the Whitney Museum at Altria since October 2000. In addition to co-curating the 2004 Whitney Biennial, she has recently organized the solo exhibitions Mark Grotjahn (2006), Raymond Pettibon (2005-06), and Banks Violette: Untitled (2005), for which she also authored the catalogue. At the branch museum, Momin is responsible for organizing exhibitions and focusing on commissioning new work by emerging artists for both solo and thematic presentations, as well as writing essays for exhibition brochures, producing gallery talks, artists' talks, symposia, and panel discussions, and supervising the production of the annual Performance on 42^nd Streetseries. Momin's exhibitions at Altria have included projects with artists such as Andrea Zittel, Rob Fischer, Sue de Beer, Luis Gispert, Katie Grinnan, Mark Bradford, Dario Robleto, Ellen Harvey, Do-Ho Suh, and E.V. Day.

As part of The Contemporary Series, which she organizes, Momin's latest exhibition for the Whitney was Terence Koh, which closed in May of 2007 and was accompanied by a catalogue co-authored by Momin. She oversaw the New York installation of Lorna Simpson, a touring exhibition organized by the American Federation of Arts, which opened this past spring, for which she also contributed to the catalogue. She was also recently named co-curator for the upcoming 2008 Biennial exhibition.

Recent outside curatorial projects have included No Ordinary Sanctity (2005), a group exhibition at the Deutsch bank project space, Salzburg, as well as Will Boys be Boys?: Examining Adolescent Masculinity in Contemporary Art (2004-2007), organized in conjunction with Independent Curators International (travelling to six venues nationally). In addition to her Whitney exhibition publications, Momin has contributed essays to numerous other monographs, art periodicals, and exhibition catalogues, most recently as an invited author for the next in the Phaidon Cream series. Momin has participated on numerous juries and panels throughout USA. She has served as Visiting Professor for NYU's MFA Senior Seminar (Fall 2005) and is currently Adjunct Professor of Contemporary Art for Williams College 2007 Semester in New York program.

Adam Budak is currently curator for contemporary art at the Kunsthaus Graz am Landesmuseum Joanneum in Graz, Austria. He studied theatre at the Jagiellonian University in Krakow and history and philosophy of art and architecture at the Central European University in Prague. He is a guest professor at the Higher Institute for Fine Arts - Flanders in Ghent and at the Theatre Institute of the Kunstuniversität in Graz. He has recently co-established the postgraduate studies programme in curatorial practice and theory at the Art History Institute of the Jagiellonian University in Krakow. Adam Budak has curated Architectures: Metastructures of Humanity, Morphic Strategies of Exposure, exhibition in the Polish Pavilion of the 9^th Venice Biennale of Architecture (2004). He worked with acclaimed artists such as John Baldessari, Cerith Wyn Evans and Monika Sosnowska, and has curated a large number of international exhibitions. Recent projects includeProtections. This Is Not an Exhibition (together with Christine Peters) and Volksgarten. Politics of Belonging (cocurated with Katia Schurl and Peter Pakesch). Budak is one of the curators for Manifesta 7.

Artist, Curator, Academic

Zhang Ga is a media artist, curator and a professor of communication arts. He has exhibited internationally including the Ars Electronica Center (Austria), Adelaide Art Festival (Australia), Dutch Electronic Art Festival (The Netherlands), Whitney Museum of American Art (US), Singapore Art Museum (Singapore) and Art Center Nabi (South Korea) among others, organized conferences and digital salons, written and lectured on new media art practice and criticism widely, and served on jury duties for media art grants. He is artistic director and curator of China International New Media Arts Exhibition 2008, a major cultural event presented by the National Art Museum of China during the Beijing Olympic Games in 2008. He was the artistic director and curator of the Millennium Dialogue: Beijing International New Media Arts Exhibition and Symposium 2004, 2005 and 2006, His most recent curatorial projects include, Code:Blue, 3rd Beijing International New Media Art Exhibition, European Media Art Festival 2006 (guest curator), Container Culture - ISEA2006 / ZeroOne, a Global Festival of Art On the Edge (San Jose, US), New Directions from China (Basel, Switzerland). Prior to joining the New York Institute of Technology, he taught for many years at the MFA Design and Technology Department at Parsons School of Design. Zhang Ga studied at the University of Arts in Berlin (UDK) and holds an MFA from the Parsons School of Design in New York City. He is also a guest professor at the Academy of Arts and Design, Tsinghua University, Beijing.

During his stay in Norway he will visit Bergen.

Brian Sholis is Artforum.com Editor at Artforum. He has written for Artforum, Parkett, Afterall, Flash Art, Bookforum, Print, and the New York Press, among other periodicals; has contributed essays to publications accompanying exhibitions at the Whitney Museum of American Art, New York, the UCLA Hammer Museum, Los Angeles, and the Moderna Museet, Stockholm; and has contributed to books published by Taschen and Phaidon. He is the coeditor, with Noah Horowitz, of The Uncertain States of America Reader (Sternberg Press/Astrup Fearnley Museum of Modern Art/Serpentine Gallery, 2006), has taught at New York University, and has been a visiting critic at the School of the Art Institute of Chicago, the California Institute of the Arts, Los Angeles, the Cranbrook Academy of Art, Bloomfield Hills, Michigan, and Parsons The New School for Design, New York.

Marta Gili graduated in Philosophy and Education from Universitat de Barcelona. Between 1983 and 1988, she was part of the Primavera Fotogràfica de Barcelona Organizing Committee. Between 1991 and 2006, she was head of the Department of Photography and Visual Arts of the Fundació la Caixa. On October 2006, she was appointed director of the Jeu de Paume in Paris. Simultaneously, she was Artistic Director of Printemps de Septembre (visual arts festival) in Toulouse, for the 2002 and 2003 editions. She was member of the Acquisitions Committee for the Fonds National d'Art Contemporain of the French Ministry of Culture, between 1994 and 1997. Marta Gili has been the curator of a multitude of monographic exhibitions, such as those of Helen Chadwick, Tracey Moffat, Miguel Rio Branco, Lorna Simpson, Aernout Mik, Christer Stromholm, Gillian Wearing and Doug Aitken, amongst others. She has also headed thematic exhibitions, such as la Imatge Fràgil, Ficcions Documentades or Historias Animadas. She has contributed with articles in El País, El Mundo, ABC, Tema Celeste Beaux Arts Magazine, and she also collaborates monthly in EXIT magazine. Marta takes part in numerous seminaries and conferences, and teaches several postgraduate courses, both in Spain and abroad. Her texts have been published in several monographs of artists and in theory books published by Phaidon, Steidl, Gustavo Gili and the Fundació la Caixa.

Anthony Huberman is Director and Chief Curator of The Wattis Institute in San Francisco. He was Founding Director of The Artist’s Institute in New York and a distinguished lecturer at Hunter College. Previously, he worked as chief curator of the Contemporary Art Museum St. Louis, curator at the Palais de Tokyo in Paris, curator at SculptureCenter in New York, and director of education and public programmes at MoMA PS1 in New York. He has curated major solo exhibitions with artists such as Henrik Olesen, Laura Owens, Sam Lewitt, Jos de Gruyter & Harald Thys, Lutz Bacher, Gedi Sibony, Richard Artschwager, and Olivier Mosset, and has developed long-term research projects with artists such as David Hammons, Joan Jonas, Thomas Bayrle, Haim Steinbach, Rosemarie Trockel, and Jimmie Durham. He has published numerous articles in art periodicals, including Artforum, Frieze, Flash Art, Afterall, and Mousse.

She received her B.F.A. from the School of the Art Institute of Chicago in 1999 and her M.A. from the Center for Curatorial Studies at Bard College in 2004. As a graduate student at the Center for Curatorial Studies, she organized The Happy Workerand co-curated Framing the Real: Works from the Marieluise Hessel Collection. At the Walker, she assisted with the exhibitions Andy Warhol/Supernova; Kiki Smith: A Gathering, 1980-2005; Sharon Lockhart: Pine Flat; Cameron Jamie; Heart of Darkness; Eva Hesse Drawing and is currently co-curator of the upcoming exhibition Kara Walker: My Complement, My Enemy, My Oppressor, My Love.

Director, the Johannesburg Art Gallery, Johannesburg, South Africa

Clive Kellner attended the first Johannesburg Biennale Trainee Curator Programme in South Africa and received further specialised training at De Appel in Amsterdam (1995-1996). He was appointed projects co-ordinator of the Africus Institute for Contemporary Art (AICA), Johannesburg (1996); assistant curator to both the South African national representation at the Sao Paulo Bienal (1996) and to the artistic director, Okwui Enwezor, of the Johannesburg Biennale (1997/98) and its monumental accompanying catalogue entitled Trade Routes: History and Geography. Work by 400 artists from 63 nations was displayed on this exhibition. He was also coordinator of the Rockefeller Foundation project: Ubuntu 2000 (1999); co-founder and director of a non-profit organisation, Camouflage in Parkwood, Johannesburg (1999-2001) that included a gallery, residency programme and an art journal; curator of a solo exhibition of Nigerian/UK artist Yinka Shonibare; and co-ordinator of the National Arts Council and British Council project: Connecting Flights (2000). Kellner has presented papers at various international conferences: Mostra Africana de Arte Contemporanea, Museum for Modern Art, Sao Paulo; (Trans) Africa, Palais d'Egmont, Brussels; Towards Transit, Zurich; Five Continents and One City, Mexico City; the Havana Bienal, Cuba; Post-apartheid contemporary art at the Museum of Contemporary Art in Rome, Italy. He has also written for a variety of publications including Flash Art. International exhibitions of contemporary South African and African art that Kellner has curated include Vice Verses, Austria (1999); Foto Biennale (2000), Rotterdam; Five Continent and One City, Mexico (2000); Atmosphere Metropolitane: Johannesburg Johannesburg, Milan in Italy (2000); and Videobrasil (2000), São Paulo. He is on the Advisory Boards of the School of the Arts, Tshwane University, and the School of Fine Arts, University of Johannesburg, and has adjudicated a number of awards and competitions: Vita Art Awards; Seychelles Biennale; Brett Kebble Art Awards 2005; and Alexandria Biennale, Egypt (2005).

Curator, Witte de With, Rotterdam, The Netherlands

Renske Janssen is a curator and a writer. Since 2004 she is working as a curator at Witte de With, center for contemporary art, Rotterdam where she has a special interest in tensions and clashes in private and public space. She has curated several group exhibitions such as Tracer (2004) and Street: Behind the Cliché (2006) that dealt with related topics. With the concentration of solo exhibitions and publications she focuses on specific artistic positions dealing with the problematic status of the image and questions around representation in popular culture beginning with Mathias Poledna (2006), followed by the American artist Chloe Piene (scheduled for 2007 with publication). With an interest in the contemporary use of the personal and the emotive in moving imagery she's organising for 2007's International Film festival Rotterdam a selection of artists films under the title Depiction, Perversion, Repulsion, Obsession, Subversion that will focus on the critical use of cinematographic tools as sound and editing and - more general - with forms of manipulation. Among others, she published several texts and reviews in Dutch magazines Kunstbeeld and in the Rotterdam artist magazine Fucking Good Art and is a regular contributor of the Belgian music and cultural magazine Gonzo Circus.

She has a Masters title in Contemporary Art theory and Dutch Art policy from the University of Utrecht. From 2000-2003 she collaborated on For Real (2000), Display (2001) and Life in a Glass House (2002) at the Stedelijk Museum in Amsterdam. At the Stedelijk Museum Bureau Amsterdam, she organized several solo exhibitions among others Bantar Gebang van De Rijke/De Rooij and Mindset of Saskia Olde Wolbers. She organized in collaboration with the Universiteit van Amsterdam several lectures about contemporary artistic practice and theory and was a freelance curator for Lost & Found, evenings for lost images in Amsterdam. From 2002 to 2004 she was a faithful assistant of Amsterdam based artist Germaine Kruip.

Director and Curator, Kunsthalle Zürich, Switzerland

Beatrix Ruf studied in Vienna, New York and Zürich. Since September 2001 she is the Director/Curator of the Kunsthalle Zürich. In 2006 she was curator of the Tate Triennial, Tate Britain, London. Previously, she had been Director/Curator of the Kunsthaus Glarus, and between 1994 and 1998 curator at the Kunstmuseum of the Canton of Thurgau. Since 1995 she is curator of the Ringier collection. Since 1999 Board member of the Schweizerische Graphische Gesellschaft (SGG) and member of the Art commission of Swiss Re. Since 2003 she is also Associate Editor of the publishing house JRP/Ringier. She has organized exhibitions, has written essays and published catalogues on artists such as Jenny Holzer, Marina Abramovic, Peter Land, Liam Gillick, Urs Fischer, Emmanuelle Antille, Angela Bulloch, Ugo Rondinone, Richard Prince, Keith Tyson, Elmgreen&Dragset, Monica Bonvicini, Eija-Liisa Ahtila, Pierre Huyghe/Philippe Parreno: No Ghost just a Shell, Rodney Graham, Isa Genzken, Doug Aitken, Wilhelm Sasnal, de Rijke / de Rooij, Eva Rothschild, Rebecca Warren, Carol Bove, Oliver Payne&Nick Relph, Dominique Gonzalez-Foerster, Sean Landers, John Armleder, Catherine Sullivan, Daria Martin, Trisha Donnelly, Wade Guyton, Seth Price, Kelley Walker, Josh Smith, General Idea and many others.

Carolyn Christov-Bakargiev is a writer, art historian and curator. Christov-Bakargiev was recently appointed Director of the 14th Istanbul Biennial, Istanbul, Turkey (2015). She has been the Artistic Director of dOCUMENTA (13) (2012); Chief Curator at Castello di Rivoli Museo d’Arte Contemporanea (2002–2008), and its Director in 2009; Artistic Director of the 16th Biennale of Sydney (2008) and Senior Curator at P.S.1 Contemporary Art Center, a MoMA affiliate, New York, NY, USA (1999–2001). The author of publications including Arte Povera (London: Phaidon Press, 1999), she has written extensively on such a movement and on the work of artists such as William Kentridge, Janet Cardiff, and Pierre Huyghe. She curated numerous exhibitions, including among others, ‘On Taking a Normal Situation and Retranslating it into Overlapping and Multiple Readings of Conditions Past and Present’, Antwerp, Belgium (1993), ‘The Moderns’, Rivoli-Turin, Italy (2003), and ‘Faces in the Crowd’, London, UK, and Turin (2004). She co-curated the first edition of the Turin Triennial (2005).

Poka-Yio studied Fine Arts and Digital Arts in Athens. He has exhibited in Athens and internationally. He has been a member of ILIOS experimental music group (1991-1996), and is the director of A-Station, Athens Contemporary Art Center, since 1999. His articles appear in FUTURA review since 1997.

Member of the Istanbul Biennial permanent team

Ceren Erdem graduated from the Industrial Design Department of the Faculty of Architecture at Istanbul Technical University in 2002 and completed her M.F.A. degree in Visual Arts and Visual Communication Design at the Sabanci University, Istanbul, in 2004. She started working in the Istanbul Foundation for Culture and Arts as the assistant of Lucia Koch in the 8^th International Istanbul Biennial, Poetic Justice, curated by Dan Cameron in 2003. Since the 9^th International Istanbul Biennial, Istanbul, curated by Charles Esche and Vasif Kortun in 2005, Ceren Erdem works as the exhibition manager responsible for the artists' projects as a member of the Istanbul Biennial permanent team.

Adam Szymczyk is Artistic Director of Documenta 14. He was a co-founder of the Foksal Gallery Foundation in Warsaw, at which he worked as a Curator from 1997 till 2003, when he assumed his new post as Director at Kunsthalle Basel, Switzerland. In Basel, he organised exhibitions including 'Piotr Uklanski: Earth, Wind and Fire' (2004); 'Tomma Abts' (2005); 'Gustav Metzger: In Memoriam' and 'Lee Lozano: Win First Don't Last Win Last Don't Care' (both 2006); 'Micol Assaël: Chizhevsky Lessons' (2007); 'Danh Vo: Where the Lions Are' (2009); 'Moyra Davey: Speaker Receiver' (2010); 'Sung Hwan Kim: Line Wall' (2011); 'Paul Sietsema and Adriana Lara: S.S.O.R.' (both 2012), as well as group shows including 'Strange Comfort (Afforded by the Profession)' (with Salvatore Lacagnina, 2010), 'How to Work/How to Work (More for) Less' (both in 2011); 'Michel Auder: Stories, Myths, Ironies, and Other Songs: Conceived, Directed, Edited, and Produced by M. Auder' (2013) and 'Naeem Mohaiemen: Prisoners of Shothik Itihash' (2014).

In 2008 he co-curated with Elena Filipovic the 5th Berlin Biennial for Contemporary Art under the title 'When Things Cast No Shadow' and in 2012 he curated 'Olinka, or Where Movement Is Created' at Museo Tamayo in Mexico City. He is a Member of the Board of the Museum of Modern Art in Warsaw. In 2011, he was a recipient of the Walter Hopps Award for Curatorial Achievement at the Menil Foundation in Houston.

Szymczyk's visit in August 2016 coincides with the presentation of Documenta 14's journal South in Kárášjohka, Sápmi (Karasjok, Norway), allowing the Documenta 14 team to encounter current artistic practices and conduct research regarding recent history and developments within communities in Sápmi and northern Norway.

Gerardo Mosquera is a freelance curator and an art critic. He has worked as Adjunct Curator at the New Museum of Contemporary Art, New York, advisor at the Rijksakademie van Beeldenden Kunsten, Amsterdam, and he has been a member of the advisory board of several art journals. He was a founder of the Havana Biennial and has curated many exhibitions, including the international urban art event MultipleCity. ArtPanama 2003, Panorama da Arte Brasileira Contemporanea/ (Sao Paulo, Rio de Janeiro, Recife, Vigo, 2003-2004), It's Not What You See. Perverting Minimalism (Madrid, 2000), Cildo Meireles (New York, 1999), Important & Exportant (2nd. Johannesburg Biennale, 1997), Ante America (Bogota, Caracas, New York, San Francisco, San Diego..., 1992-1994). Author of numerous books and texts on contemporary art and art theory, Mosquera co-edited Over Here. International Perspectives on Art and Culture (Cambridge, 2004), and edited Beyond the Fantastic: Contemporary Art Criticism from Latin America (London, 1995).

John Rasmussen is the founder and curator of Midway Contemporary Art, Minneapolis, a non profit gallery committed to encouraging innovation and diversity in the visual arts. He has curated exhibitions in the gallery's initial 5 years that have included artists such as Guyton/Walker, Aaron Young, Omer Fast, Michaela Meise, Rebecca Morris, Brice Dellsperger, Jorge Queiroz, Santiago Cucullu, Carter, and Jesper Just. Forthcoming Midway exhibitions and publications include Nate Lowman, Jay Heikes, Lisa Lapinski, and Todd Norsten.

Marilu Knode has organized over fifty one-person and thematic group shows with artists from around the globe. Artists with whom she has worked include: Pascale Marthine Tayou (Cameroon), Ghada Amer, Mona Marzouk (Egypt), Takehito Koganezawa (Japan), Surasi Kulsolwong (Thailand), Matts Leiderstam (Sweden), Gitte Villesen (Denmark), Monique Prieto, Sam Durant and Andrea Bowers (United States), among others. She is currently working on a project with Scandinavian artists; an exhibition on celebrity; a traveling show of new works by Pae White; and a group exhibition with artists from North Africa/Middle East with the Museum for African Art, New York. Her primary areas of research include the Middle East and the impact of non-Western art in broadening the boundaries of contemporary modernism. She has contributed to publications Nu, Art in America, Art Papers, Tema Celeste and Flash Art.

The Frac Burgundy is one of the 22 Fracs based in the 22 regions in which France is divided. Every Frac has the same three main missions: Informing, Collecting, Disseminating contemporary art. But not every Frac has of course, the same programme of exhibition or the same collection (or same acquisition policy), or the same field of interests. Since her appointment in 2003 to the Frac Burgundy, her artistic orientations have been articulated in particular around the questions related to the perception and the function of space. Architecture and town planning, private space and public space, legislation and personal freedom or the space exhibition room are in the heart of my concerns as attest the acquisitions of works (and exhibitions) by Jordi Colomer, Jonas Dahlberg, Gaylen Gerber, Lara Almarcegui, Ann Veronica Janssens, Koenraad Dedobbeleer, Guillaume Leblon, Pedro Cabrita Reis, Knut Åsdam or Peter Downsbrough.

These three curators are here to do research for the Ars Baltica Triennial of Photographic Art: Under the motto Don't Worry - Be Curious!, artists, curators, and academics from five western and five eastern European countries bordering the Baltic Sea will address the problems and fear resulting from upheavals in present-day society. The project comprises an exhibition to be shown in Kiel (DE), Tallinn (EE), Pori (FI) and other locations in the Baltic Sea region; an interdisciplinary conference, for which a collaboration with the Muthesius Hochschule in Kiel is planned; and an artist-in-residence program for which several artists will develop new works in the partner countries.

Hu Fang is the Artistic Director and co-founder of Vitamin Creative Space, a project and gallery space dedicated to contemporary art-exchange and to analysing and combining different forms of contemporary cultures. As a novelist and curator, Hu Fang has published the novels "Sense Trilogy". His curating and co-curating projects include Xu Tan: "Loose", 1996; "Perfect Journey", a presentation of the works of 8 photographers, architects and artists, 1995; Zheng Guogu: "My Home is Your Museum", 2005 and "Object System: Doing Nothing", 2004. His essays and art critics have since 1997 appeared in major Chinese art/literature and international art/culture magazines such as Domus, Yishu, Avant-Garde Today and Art World. Hu Fang graduated from the Chinese Literature Department of Wuhan University in 1992. He is currently working as coordinating editor of Documenta 12 magazines.

Sven-Olov Wallenstein teaches Philosophy at Södertörn University College and researches at the KTH School of Architecture at The Swedish Museum of Architecture, in Stockholm, Sweden. He is also the Editor in Chief of SITE. He has published numerous books, recent themes being aesthetic theory, contemporary painting, and modern architectural theory. Recent translations to Swedish include volumes by Immanuel Kant, Gilles Deleuze, Martin Heidegger, Giorgio Agamben, and G W F Hegel. Wallenstein comes to Norway to participate in the LIAF seminar - Lofoten International Art Festival, 17 June-30 July.

Peter Eleey is Curator at the Walker Art Center in Minneapolis, Minnesota, where he recently organized an exhibition surveying the visual art of the dancer and choreographer Trisha Brown. Prior to joining the Walker, he was Curator & Producer at Creative Time in New York, where he curated a wide range of multidisciplinary programs including exhibitions, projects and commissions with Mike Nelson, Cai Guo-Qiang, Jenny Holzer, William Forsythe, Doug Aitken, Jim Hodges, Shirazeh Houshiary and Haluk Akakçe, among others. He has also organized multi-artist projects and exhibitions for Creative Time such as The Dreamland Artist Club (2004 - 2005).

Tihomir Milovac is Senior Curator at the Museum of Contemporary Art in Zagreb, where he currently directs the Experimental Research Department. As a curator and art critic, he has prepared many exhibitions and other visual arts projects both in Croatia and internationally, often researching contemporary phenomena in visual arts, in addition to the historical avant-garde. He has curated numerous exhibitions, among them Kasimir Malevich (Retrospectie), 1990; Ukrainian Avantgarde, 1910 - 1930, Zagreb, 1990/91; Jan Fabre: Passage, 1997/98; The Future is Now - Ukrainian Art in the Nineties, 1999 - 2000;The Baltic Times - Contemporary Art from Latvia, Lithuania and Estonia, 2002; Misfits: Conceptual Strategies in Croatian Contemporary Art , 2002 System of Coordinate - Russian Art Today, 2004; and Insert - Retrospective of Croatian Video Art, Zagreb, 2005. He has curated several solo exhibitions with Croatian contemporary artists, including Sanja Ivekovć, Dalibor Martinis, Mladen Stilinović, Goran Petercol, Zlatko Kopljar, and Kristina Leko.

Director, Blaffer Gallery, University of Houston

Terrie Sultan is the Director and Chief Curator of the Blaffer Gallery, the Art Museum of the University of Houston, Texas, a position she has held since June 2000. She has organized many exhibitions with accompanying catalogues featuring artists of international scope, including Terry Allan, Alain Bublex, Nancy Burson, Donald Lipski, Francisco Ruiz de Infante, James Surls, Jessica Stockholder, and Chuck Close. She has traveled extensively throughout the United States and abroad, and lectured and published numerous books and articles on issues related to contemporary visual art and culture. She was a member of the founding board of Etant donné, the French-American Endowment for Contemporary Art, and co-commissioner for the international exhibition at the Taijon South Korea International World exhibition. She was recently honored by the French Government with a Chevalier dans l'Ordre des Arts et des Lettres.

Prior to joining the Blaffer Gallery, Ms. Sultan was curator of contemporary art at the Corcoran Gallery of Art in Washington, DC, a position she held for 12 years. During that time, Ms. Sultan organized some 40 exhibitions and publications. She was born in Asheville, North Carolina, received her BFA in Painting at Syracuse University College of Visual and Performing Arts, and her MA in Museum Studies at the John F. Kennedy University Center for Museum Studies in San Francisco.

Edi Muka studied painting at the Academy of Fine Arts, Tirana. In 1995 he attended an international course on curatorial devices, organized by Soros Foundation in Kiev, Ukraine. He became an assistant professor at the AFA in Tirana, where he continues today as a guest professor at the Contemporary Art Atelier. In 1999 Muka was appointed Director of the International Center of Culture, Tirana, where he developed an active programme of visual art exhibitions, unconventional theatre performances, and music events. While at the ICC, he instituted its Gallery of Contemporary Art in 2000. In 1998 he curated Permanent Instability, the first international contemporary art show in Albania, which turned into an annual event, also curating the next two instalments, In & Out (2000) and Small Brother (2002). In 1999 he organized Albania Today, The Time of Ironic Optimism, the first Albanian contribution to the Venice Biennale. As one of the co-founders behind the Tirana Biennale, Edi Muka was the curator and general coordinator of Tirana Biennale 1 held in 2001 and Co-Director of the 2003 instalment. In 2005 he co-curated the Temptations exhibition as part of the biennale's third instalment. Muka continues to serve as Co-Director of the Tirana Biennale and is also currently a Curator at the National Gallery in Tirana in charge of the International Program. In addition, Muka has curated numerous exhibitions internationally in cities such as Milan, Berlin, Stockholm, Amsterdam, and Tel Aviv. Muka's writings on contemporary art have been published in various exhibition catalogues as well as in journals and magazines such as Perpjekja, PamorArt, FlashArt, Springerin, Camera Austria, and Manifesta Journal. At present, Muka is developing an exhibition for Apex Art in New York City.

Lívia Páldi has been curator at Mücsarnok/Kunsthalle, Budapest since Sept 2005. She was co-director of Institute of Contemporary Art Dunaújváros, Hungary, 1997-2000. After having taking part in the De Appel Curatorial Training Programme, Amsterdam (2000-2001), she started working as a freelance curator and critic, contributing regularily to various publications. She has curated, among other exhibitions, Modesty (with Gregor Podnar), Pavel Haus, Laafeld and Mala galerija/Galerija Skuc, Ljubljana, 2002-2003; green box, Trafo Gallery, Budapest, 2004; and Surfacing, Episode 1 of the Who if not we?? exhibition series, Ludwig Museum of Contemporary Art, Budapest, 2004; and Second Present, Trafo Gallery, 2005. She was the editor of the exhibition catalogue Marjetica Potrc: Last Stop: Kiosk, Moderna galerija, Ljubljana and Revolver, Frankfurt, 2003; and was working as a collaborating editor in East Art Map, a project by Irwin, 2002-2005.

Jörg Heiser is co-editor of Frieze Magazine, London, and writes for Süddeutsche Zeitung, Munich. Recent curated projects include Funky Lessons, Büro Friedrich, Berlin; and BAWAG Foundation, Vienna, 2004/2005. Heiser is currently preparing a travelling exhibition on Romantic Conceptualism, to be launced in Spring 2007. Recent catalogue and book contributions include essays on Susan Hiller (DAAD Berlin and Compton Verney UK, 2005), Gerwald Rockenschaub (Museum Moderner Kunst, Vienna 2004), Chris Cunningham (kestnergesellschaft, Hanover 2004), Thomas Scheibitz (Venice Biennale 2005), and Tal R (CFA, 2005).

Martin Herbert is a writer and critic. He is a London correspondent for Artforum, and his writings on art have also appeared in magazines including Frieze, Art Monthly, Modern Painters and Flash Art.

Barbara London founded MoMA's video exhibition and collection programmes, and has guided them over a pioneering career. Her recent activity at MoMA includes 'Looking at Music 3.0', exploring the influence of music on contemporary art practices, focusing on New York in the 1980s and 90s; 'Mirage', an installation by Joan Jonas; 'Looking at Music: Side 2', featuring artists such as Patti Smith, Jean-Michel Basquiat, Jenny Holzer and Blondie; 'Automatic Update', with installations by Cory Arcangel, Rafael Lozano-Hemmer, Paul Pfeiffer and Xu Bing. She was also responsible for 'Through the Weeping Glass' at the Mütter Museum, Philadelphia, USA and a series of web projects such as 'Stir-fry', China; 'InterNyet', Russia and 'dot.jp', Japan. She has also written and lectured widely.