2026

Juliana Steiner Fraser is an independent curator and researcher based in Bogotá. Her practice engages contemporary art, pedagogy, architecture, and political ecology.

She is Associate Curator of the Bogotá Biennial, opening September 2027. Recent projects include Leonel Vásquez’s first New York solo exhibition at 601 Artspace (2026) and Ecotono: Chagras, Payaos, Camellones, developed for Common Ground at Bard College (2022–23), which culminated in the publication Ecotone: Silent Revolutions (Bard College Press, 2025), a finalist in the XIV Ibero-American Biennial of Architecture and Urbanism (2026).

She is co-founder of La Reserva Guatoc and Espacio Odeón, part of the collective entre—ríos, and teaches at New York University. She is also co-editor of the forthcoming Graham Foundation-supported LA ESCUELA___: The School as Practice and Place.

Photo: Josefina Santos

Yina Jiménez Suriel is co-artistic director of the 13th edition of Sequences Biennial in Iceland, curator of the 37th Bienal de São Paulo, and associate editor of Contemporary And (C&). Her curatorial practice is nourished by la historia de las montañas [the history of the mountains], an ongoing transdisciplinary research project around the construction of imagination, contemporary emancipatory processes, and the politics of movement.

She was Fellow Curator of The Current IV at Thyssen-Bornemisza Art Contemporary (2023–2025) and adjunct curator of the 14th Bienal do Mercosul (2025). Her recent curatorial projects include ARAVARA, a multi-site exhibition developed with KADIST across 2026 at Museo para la Identidad Nacional and LL Proyectos Honduras, the National Gallery of Jamaica, Uniarte Foundation, and Alice Yard; other mountains, adrift beneath the waves at Ocean Space (2025), currently touring in 2026 at the Museum of Contemporary Art of Panama; from the blues at Kunsthalle Lissabon (2024); and de montañas submarinas el fuego hace islas, developed between 2022 and 2024 across Pivô, Cinemateca Nacional Dominicana, KADIST San Francisco, Delfina Foundation, and the Museum of Contemporary Art and Design Manila, including the editing of its two publications. Her writing has appeared in publications including Afterall, Contemporary And, Foam, Frieze, Revista de Arte UNAM, Terremoto, and Umbigo. She holds a MA in Art History and Visual Culture with specialization in Visual Studies and a bachelor degree in Architecture.

Photography by Camila Tuon / Fundação Bienal de São Paulo.

Raphael Fonseca was born in Rio de Janeiro, Brazil. He is the curator of visual arts at Culturgest, Portugal. He is co-chief curator of the 37th São Paulo Biennial (2027) and co-curator of the festival Sequences (2027) in Reykjavík, Iceland. He is part of the curatorial ensemble responsible for Counterpublic 2026, a triennial recently opened in St. Louis, in the United States. He was the chief curator of the 14th Mercosur Biennial in Porto Alegre, Brazil (2025), and co-curated the 22nd SESC_Videobrasil Biennial (2023), in São Paulo, Brazil. Previously, he worked as a curator at MAC Niterói (Contemporary Art Museum of Niterói, Brazil) from 2017 to 2020.

He holds a PhD in Art History and Criticism from the State University of Rio de Janeiro. Central to his practice is the juxtaposition of different temporalities and the ways they generate contemporary reflections for audiences. Humor, absurdity, pop culture, and political resistance associated with pleasure, imagination, and transformation are recurring themes in his research and curatorial work.

Photography by Vikram Pradhan / Sequences Art Festival.

Vasyl Cherepanyn was born in 1980 in Ivano-Frankivsk in Ukraine, and currently lives in Berlin. Cherepanyn is the curator of the 14th Berlin Biennale for Contemporary Art, which will take place in the summer of 2027. He holds a PhD in philosophy and has lectured at various universities, including the Cultural Studies Department of the National University of Kyiv-Mohyla Academy, the Institute for Advanced Studies of the Political Critique in Warsaw, University of Helsinki, European University Viadrina in Frankfurt (Oder), and the Krupp Wissenschaftskolleg Greifswald of the Greifswald University. In 2008, he co-founded the Visual Culture Research Center (VCRC), the institutional organizer of the Kyiv Biennial and a founding member of the East Europe Biennial Alliance (EEBA). Cherepanyn is part of the curatorial team of the Kyiv Biennial, which will conclude with a further chapter at KW Institute for Contemporary Art in 2026 and was previously presented at the Museum of Modern Art in Warsaw, M HKA – Museum of Contemporary Art Antwerp, Dnipro Center for Contemporary Culture, Dovzhenko Centre in Kyiv, and Lentos Kunstmuseum Linz. In 2024, he co-curated Kyiv Perennial at Between Bridges, neue Gesellschaft für bildende Kunst (nGbK), and Prater Galerie in Berlin. He also co-organized iterations of the Kyiv Biennial such as Allied (2021), Black Cloud (2019), The Kyiv International (2017), or The School of Kyiv (2015) and curated the public program Armed Democracy at the Biennale Warszawa (2022), the exhibition Hybrid Peace at Stroom Den Haag (2019), The European International at Rijksakademie van beeldende kunsten in Amsterdam (2018), and Global Protest at the Open University of Maidan (2013), among others. He edited publications such as Society of the Frontline: A Guidebook of Kyiv Perennial (nGbK, 2025), ’68 NOW (Archive Books, 2019), and Guidebook of the Kyiv International (Medusa Books, 2018), and was the co-editor of the Ukrainian edition of the magazine Political Critique from 2011 to 2014.

Photo: Diana Pfammatter

Andrea Torreblanca, Director of Museo Tamayo in Mexico City, is visiting Oslo and Stockholm in collaboration with IASPIS.

Andrea Torreblanca is a Mexican curator and writer whose work explores the intersection between contemporary art, archival practices, history, and the museum as a space for critical and public dialogue. She has been the director of the Tamayo Museum of Contemporary Art in Mexico City since January of 2025. She holds a master’s degree in Curatorial Studies from the Center for Curatorial Studies at Bard College in New York.

Torreblanca has more than two decades of experience working in institutions, including, among other positions, director of curatorial programs and chief curator at INSITE, Art Practices in the Public Sphere (since 2018) as associate curator at the Tamayo Museum (2012–2015), coordinator of the La Sala de Arte Público Siqueiros – La Tallera (2010–2012), deputy director of Curatorial Affairs and head of the Jacques and Natasha Gelman Collection of Modern and Contemporary Art (2004–2008), and collection coordinator at the CECUT Museo de las Californias in Tijuana (1998–2000). She also served as director general and chief curator of the MACCSJ Museum from 2016 to 2018.

Her curatorial research centers on thematic and multi-generational group exhibitions that place historical and contemporary practices in dialogue, beginning with historical inquiry as a way of generating new perspectives on the present. Among her exhibitions are Erratic Fields, The Mexicali Experimental Project, Before the Eclipse: Archaeologies of Mexican Art; Archaic Futures, The Theater of the World, First Act, and Cyclorama.

Her editorial work has been fundamental to her professional career. She is the founder and editor-in-chief of INSITE Journal, a bilingual publication dedicated to contemporary art and the public sphere, since 2018. She is also the author of the script for “Speech Acts / Actos de Habla”, a project that transformed the INSITE archive—comprising conversations, interviews, and commissioned texts—into a choreographic and performative work. Her broader curatorial research includes long-term projects that explore crossborder geographies, architecture, spirituality, and collective forms of knowledge in Southern California and Baja California. Her current research expands these lines of interest to include performativity, mysticism, cross-cultural exchange, and alternative genealogies of modern and contemporary art.

Photo: Gerardo Landa

Xiaoyu Weng is a Shanghai born and New York based writer and curator. She is currently the curator of documenta 16, opening in June 2027 in Kassel, Germany. She also runs the independent space Art in General in New York.

Weng's curatorial practice focuses on the impact of globalisation, the convergence of art, science, and technology, and emerging ecological and environmental transformations through the lens of feminism, identity, and decolonisation. From institutional positions to independent projects, Weng has worked with over 300 artists and practitioners, collaborated with over 50 organisations to organise exhibitions and programs across all continents, and written and published numerous essays on contemporary art, visual culture, and curatorial practice.

Most recently, Weng held the position of Curator of Modern and Contemporary Art and head of the department at the Art Gallery of Ontario (AGO) in Toronto, Canada. Previously, she was The Robert H. N. Ho Family Foundation Associate Curator at the Solomon R. Guggenheim Museum in New York. At the Guggenheim, Weng curated highly acclaimed exhibitions Tales of Our Time (2016–17) and One Hand Clapping (2018). Featuring newly commissioned artworks by thirteen artists and artist collectives, the exhibitions challenge myths of identity and nation-state constructions. She also curated artist Christian Nyampeta’s first solo museum presentation in North America Christian Nyampeta: Sometimes It Was Beautiful in 2021. In 2018-2019, Weng served as the curator of the 5th Ural Industrial Biennial of Contemporary Art in Yekaterinburg, Russia. The biennial was awarded the “Best Exhibition of the Year” by the Art Newspaper Russia.

Cinthya García Leyva is a researcher and cultural manager born in Mexico City. Since 2020, she is the General and Artistic Director of Casa del Lago UNAM, where she promotes interdisciplinary and intermedia practices. She has been the Artistic Director of Poesía en Voz Alta Festival at that institution for six years. She holds a Master's Degree in Comparative Literature from UNAM and is a doctoral candidate. She has curated projects and lectured at institutions in the Americas and Europe; her research, focused on sound and experimental poetics, is published in national and international journals. She co-founded the Art, Science, and Technology Program (ACT), directed the radio series Islas Resonantes on Radio UNAM, and is a guest editor and author of the prologue to La materia del sonido (Gris Tormenta).

Cynthia was also part of Oslo Art Weekends' pro-programme from 28-31 May.

Photo: Mara Arteaga

Emma Enderby is director of KW Institute for Contemporary Art in Berlin since 15 May 2024 and a curator, writer, and lecturer of modern and contemporary art. For KW, she has curated exhibitions featuring Matt Copson, Sung Tieu, Miloš Trakilović and JessicaEkomane, Holly Herndon & Mat Dryhurst, Kazuko Miyamoto, and Klara Lidén.

Previously, she was the Head of Programs and Research/Chief Curator at Haus der Kunst, Munich, in 2021–2024. Since starting at Haus der Kunst, she curated Liliane Lijn. Arise Alive, Tony Cokes: Fragments, or just Moments, and a decentralized exhibition with Rirkrit Tiravanija. Previously, as Chief Curator at The Shed, New York, the British curator worked on founding the new institution, the overall multidisciplinary program, and curated the retrospective exhibition Agnes Denes: Absolutes and Intermediates, as well as Tomás Saraceno: Particular Matters, Ian Cheng: Life after BOB and exhibitions and commissions with Trisha Donnelly, Tony Cokes, Oscar Murillo, Lynn Hershman Leeson,and Carrie Mae Weems. Emma Enderby held positions in various institutions like Public Art Fund, where she curated the group exhibitions Commercial Break and The Language of Things, as well as Tauba Auerbach: Flow Separation, among others. As exhibitions curator at the Serpentine Galleries, London, she organized numerous projects and exhibitions including with Hilma af Klint, Rachel Rose, Trisha Donnelly, and Adrián Villa Rojas. The curator further works as a visiting lecturer, critic, and speaker at a number of universities and institutions, as well as an editor and writer for multiple publications and catalogues. She holds degrees from University College London and the University of Oxford.

Photo: Frank Sperling

Lucía Sanromán is co-curator of the Liverpool Biennial 2027 (with Aimee Harrison), She has been Chief Curator at Museo Universitario Arte Contemporáneo (MUAC). From 2019 to 2024 she was director of the Laboratorio de Arte Alameda, the premier experimental kunsthalle in Mexico City where since joining in March 2018 she has implemented a program that balances experimentation with social commitment to local social ecologies and dynamics through programs and exhibitions, including the recent Escucha profunda: prácticas hacia el mundo al revés {Yutsil, María Sosa, Naomi Rincón Gallardo y Fernando Palma Rodríguez} (10/16/2021 to 02/13/2022). Escucha profunda: prácticas hacia el mundo al revés {Yutsil, María Sosa, Naomi Rincón Gallardo y Fernando Palma Rodríguez} (10/16/2021 to 02/13/2022); Amor Rojo: Dora García (24/09/2022 to 26/03/2023); Helen Escobedo: Ambientes Totales (summer 2023), and Pedro Lasch: Entre Líneas / Between the Lines (winter 2023). Previous to this she joined Yerba Buena Center for the Arts, San Francisco, as director of visual arts in October 2015, and became YBCA curator at large in September 2018. Under the program title Changing the Ratio she organized at YBCA a series of survey exhibitions of key women artists who are also pioneers of socially-engaged practice: Tania Bruguera: Talking to Power / Hablándole al Poder (2017, co-curated with Susie Kantor), Futurefarmers: Out of Place, in Place (2018), and Suzanne Lacy: We Are Here (2019, co-organized with SFMOMA curators Rudolf Frieling and Dominic Willsdon). In addition, she curated a series of exhibitions titled The City Initiative featuring architects, designers, planners, and artists creating provocative work in the urban environment responding to civic urgencies.

Photo by Yvonne Venegs.

As part of OCA’s International Visitor Programme, we had the honour of hosting the National Center for Art Research, Japan (NCAR) in Norway as part of their Nordic research trip. They then travelled on to Sweden (IASPIS) and Finland (Frame) for further research in the region.

The group included:

Kameyama Yusuke,  Curator, Toyota Muncipial Miseum of Art Achi Modern and contemporart Western
Nakae Kana, Curator Tokyo Metropolitan Art Museum Tokyo Western Art History, Japanese Modern
Nishida Shin,Curator, Toyama Glass Art Museum, Toyama 19th Century European glass, Nordic glass art
Nozawa Hiroki, Curator, Gunma Miseum of Art Japanese Modern art and design history
Ono Shinji, Curator National Museum of Modern Art, Kyoto Modern Western Art (central and Easter European)
Onodera Natsu, Curator, The National Art Center, Tokyo Contemporay Art and Design
Tanake Rei, National Museum of Western Art, Tokyo Exhibition coordination and Registration
Yachita Mio, National Ainu Museum, Hokkaido Researcher; Contemporary Ainu artisitc experession and cultural policy
Yamaguchi Sakumi, National Museum, Tokyo International Exhibtons, applied aestetics
Yamamoto Hanami, The Museum of Kyoto Film archivist and curator, Film and Media studies
Masumi Kaoru, NCAR
Saito Chie, NCAR

Seolhui Lee is a South Korean curator based in Denmark. She is interested in curatorial methodology, particularly how curators sustain their work within institutional systems while extending cultural diversity, spatial contextualization, and contemporaneity by engaging with intersections across different parts of the world. Her curatorial practice focuses on the uncertain condition of being in-between: subject and object, consciousness and unconsciousness, the physical and visible with the psychological and invisible, history and the digital age. Within this tension, Lee places the human body at the center, exploring its resonance and capacity to generate immersive, multisensory experiences.

She co-directed the Korean Pavilion of the 2024 Venice Biennale with Jacob Fabricius, served as curator and chief curator of Kunsthal Aarhus (2023-2025), Malmö Konsthall associate curator (2024), head of the Busan Biennale 2020 exhibition team, and curator for the Seoul Museum of Art (2018-2019), among others. She has also been invited to the ‘Expo Chicago Curatorial Exchange’ (2025), ‘Tate Modern Intensive Course’ (2019), and ‘Gwangju Biennale International Curator Course’ (2016). Furthermore, Lee serves on the permanent collection acquisition committee for MMCA, Korea (2024-), a panel for mentoring ‘Danish Visual Artists’ (2024-), and as an advisor for Frieze Seoul’s Focus Section (2025-).

Photo credit: Chae Dae Han

This visit was hosted and organised in collaboration with Rafiki Arts Initiative.

Prof. Dr. Bonaventure Soh Bejeng Ndikung is a curator, author and biotechnologist, currently serving as director and chief curator of Haus der Kulturen der Welt (HKW) Berlin, Germany, and chief curator of the 36th São Paulo Biennale. He is the founder and was artistic director of SAVVY Contemporary in Berlin, as well as the artistic director of sonsbeek20–24, a quadrennial contemporary art exhibition in Arnhem, the Netherlands. He also worked as curator-at-large for Adam Szymczyk’s Documenta 14 in Athens, Greece and Kassel, Germany in 2017 and was guest curator of the Dak’Art biennale in Dakar, Senegal, in 2018. Additionally, he served as the artistic director for the 12th and 13th editions of the Bamako Encounters photography biennial in Mali, taking on this role in 2019 and 2022. Together with the Miracle Workers Collective, he curated the Finland Pavilion at the 58th Venice Biennale, 2019. Prof. Dr. Ndikung was a guest professor in curatorial studies and sound art at the Städelschule in Frankfurt, and he is currently a professor and head of the faculty of Spatial Strategies Master’s program at the Weissensee Academy of Art in Berlin. He was the recipient of the first OCAD University International Curators Residency fellowship in Toronto in 2020. His published works include, inter alia, The Delusions of Care (2021), An Ongoing-Offcoming Tale: Ruminations on Art, Culture, Politics and Us/Others (2022) and Pidginization as Curatorial Method (2023).