Visitors 2023

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.

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).

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.

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.

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

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

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

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.

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

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

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

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

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

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

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

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.