Since 2007 almost 60 international curators were selected to take part in the Young Curators Residency Programme among recent alumnae and alumni of the most renowned programmes for curators worldwide. The biographies listed in this page are updated to the year in which the curators participated to the YCRP and are subject to ongoing updates.

• Jimena Acosta
  Jimena Acosta (Mexico City, 1972) is a curator of contemporary design and art at the Museo de Arte Moderno, Mexico City. She hold a MA degree in Curatorial Studies from the Center for Curatorial Studies at Bard College, Annandale-on-Hudson, New York. In her curatorial practice she has moved from working with contemporary art only, towards working with design and it’s tight corners: sustainability was examined in the exhibition Criteria (co-curated with designer Emiliano Godoy); social movements and it’s graphic mirror in Solidarity: A Memory of Art and Social Change (Both held at Averill and Bernard Levinton A+D Gallery at Columbia College Chicago) or the postal stamps as a way of national identity and historical marker in Mexico Exporta: Postal Design and International Trade at MUFI in Oaxaca. Her exhibition I Will What I Want: Women, Design, and Empowerment, co-curated with Michelle Millar Fisher, puts forward that gender is a force that is rationalized, constructed, and affirmed, and thus can be subverted – by and through design (held at Arnold and Sheila Aronson Gallery, Sheila C. Johnson Design Center, Parsons The New School for Design, New York, in 1917 and in 2018 at Muca Roma Mexico City). She is a design history professor at the Monterrey Institute of Technology, campus Mexico City.

  Edition 2007
• Benoit Antille
  Benoit Antille (Switzerland, 1975) graduated from the MA Program in Classical Archeology and Art History at the Fribourg University (Switzerland) in 2001 and from the Curatorial Practice MA Program at the California College of the Arts in San Francisco in 2011. Between 2001 and 2003, he worked on various projects, such as the inventory of the roman paintings of the Schola del Traiano in Ostia, Roma, or a research project on the industrial heritage of Nyon (Switzerland), for the Historical Museum of this town. At that time, he also started to work as director of communication of the Gallery FAC, Sierre (Switzerland). In 2003, he has been appointed curator and coordinator of the residency program at the Cultural Center Ferme-Asile, a non-profit association in Sion (Switzerland). During the six years he worked there, he ran the Ferme-Asile following the Kunsthalle model. In 2007, he took part to the elaboration of the Label’Art Triennial, the first large-scale event gathering together all the main spaces working in the field contemporary art in the Valais. For 2012, he has been contracted by the Culture Department of the Valais to write a report on the situation of contemporary art in this region in anticipation of their revision of the criteria for public funding.

  Edition 2012
• Mira Asriningtyas
  Mira Asriningtyas (b.1986) is a curator, writer, and one of the two Directors of Cemeti–Institute for Art and Society, Indonesia’s pioneering contemporary art platform. Her practice explores polycentric forms of knowledge rooted in local contexts as a way to decolonize knowledge systems, foster ecological sustainability, and investigate the enduring traces of colonialism. She completed the Curatorial Programme at de Appel (Amsterdam), RAW Académie: CURA at RAW Material Company (Dakar), and an MA in Arts and Society at Utrecht University. Her curatorial projects and public programmes have been presented internationally at institutions including de Appel, the Stedelijk Museum Amsterdam, Fondazione Sandretto Re Rebaudengo, ISCP New York, MAIIAM Contemporary Art Museum, Our Museum Taipei, Hotel Maria Kapel, and Alternative Space LOOP. Since 2017, she has initiated and curated 900mdpl, a long-term site-specific project in Kaliurang that preserves collective memory through socially engaged artistic practice. She is the author of Institution Making on a Moving Ground: A Case Study of 900mdpl (2017–2022) (2025), and her essays have appeared in PARSE Journal, Stedelijk Studies, ArtReview Asia, Ocula, and numerous books, journals, and exhibition publications. She also co-founded the nomadic curatorial collective LIR.

  Edition 2018
• Jade Meili Barget
  Jade Meili Barget is a curator based between France and Norway, currently working as Live Curator at Bergen Kunsthall. Her practice engages live formats with a focus on performance cultures, moving images, and experimental discourse. In 2025–2026, she was curator in residence at the MAH, Geneva, where she developed the performance programme First Impressions, casting a contemporary gaze on early image technologies and examining how artists play with and subvert today’s image regime. In 2024, she was co-curator of the 15th Gwangju Biennale, Pansori: A Soundscape of the 21st Century, a sonic investigation into the spatial transformations of our present. From 2021 to 2024, she was part of the curatorial team of transmediale in Berlin, dedicated to post-digital cultures. As an independent curator, she has developed two long-term projects: The well tempered and Fatal & Fallen. The well tempered examines contemporary imaginaries of energy and extraction. Fatal & Fallen, launched in 2021, is a programme of films and readings centred on the aesthetics of grindhouse cinema and B-movie revenge narratives from East Asia. This programme grew out of her engagement with inter-Asia and Southeast Asian geographies via XING, an experimental platform championing Southeast Asian artistic expression, which she co-ran from 2017 to 2021.

  Edition 2021
• Tenzing Barshee
  Tenzing Barshee (Basel, 1983) is a writer and curator. Until recently he organised exhibitions at wellwellwell, a non-profit gallery funded by the Applied Art University, Vienna. Before that he worked as an associate curator at Kunsthalle Bern. He co-founded the temporary exhibition and event space Elaine at the Museum für Gegenwartskunst, Basel. His last monographic exhibitions he organised with Rochelle Feinstein (Centre d’Art Genève, Switzerland – with Fabrice Stroun), Margaret Honda (Triangle France, Marseille, France) and Shirana Shahbazi (Kunsthalle Bern – with Fabrice Stroun). He is a regular contributor to Starship magazine and one of the editors of Wandering magazine.

  Edition 2016
• Sukanya Baskar
  Sukanya Baskar is a curator and researcher, with a focus on photography and moving image. Her practice, involving graphic design, spatial design and curatorial research has evolved alongside archives. She has worked on a number of magazine and book design projects including Witness / Kashmir 1986–2016 / Nine photographers, featured on the New York Times’ list of Best of photobooks of 2017. As a researcher, she has been with organizations such as the Museum of Art and Photography, Bengaluru, Alkazi Foundation for the Arts, New Delhi, Light Industry and the UnionDocs Center for Documentary Art, New York. Her current research involves studying the overlapping histories of photography and magazine culture in India. She is a graduate from the National Institute of Design, Ahmedabad and the Center for Curatorial Studies, (CCS) at Bard College, New York.

  Edition 2022
• Angelique Campens
  Angelique Campens is an art historian, curator and writer working at the intersection of art, architecture and public space. Her research focuses on postwar architecture-sculpture networks, monumental sculpture in public space and béton brut. Her book Beyond Brutalism and the Postwar Architecture–Sculpture Network was published by Routledge in 2025 and grew out of her PhD research at Ghent University on André Bloc and the postwar architecture-sculpture debate. She has curated and contributed to projects at institutions including The Kitchen and the Whitney Museum in New York, Kulturprojekte Berlin, WIELS, BOZAR and Fondation CAB. She was a Whitney ISP Curatorial Fellow in 2007–2008 and joined the Foundation’s Young Curators Residency Programme in 2010. Her long-term engagement with architecture has resulted in publications and projects on Juliaan Lampens and Jacques Moeschal, including the first English-language monograph on Lampens and Jacques Moeschal: Architecture Sculptures. Her writing has appeared in catalogues and journals such as Taschen Art Now Vol. 4, Abitare, Domus, Sculpture Journal and Aspect. She teaches theory at KASK & Conservatorium, School of Arts Ghent, and is Review Editor of Public Art Dialogue (Taylor & Francis).

  
  

  Edition 2010
• Kittima Chareeprasit
  Kittima Chareeprasit (Mahasarakham, Thailand, 1989) is a curator at MAIIAM Contemporary Art Museum in Chiang Mai and MAIELIE in Khon Kaen, Thailand. Since 2016, she has co-founded Waiting You Curator Lab, an experimental curatorial workshop and artists’ book publishing house. Her interests lie in contemporary art and culture, with a focus on critical history, social, and political issues. She explores how art can be made accessible and widely distributed to the public, emphasizing its role as a process of collecting and preserving both personal and collective memory. Through her work, she collaborates with emerging and established artists, engaging with the cultural and historical contexts of Southeast Asia. Her selected recent curatorial work includes MUE: Deracinated Land at Fondazione Sandretto re Rebaudengo, Guarene, Torino (2025) Art for Impact at Asia-Pacific ministerial conference on the Beijing 30 review, United Nation ROAP (2024) Dreamworld #dreammantra at MAIIAM Contemporary Art Museum (2023) and Dreamday at Jim Thompson Art Center, Bangkok (2022) both solo exhibitions by Mit Jai-inn. Additionally, A Minor History by Apichatpong Weerasethakul at MAIELIE, Khon Kaen (2022), Watch and Chill: Streaming Art to Your Homes, a free subscription-based art streaming platform curated in collaboration with the National Museum of Modern and Contemporary Art in Korea, the Contemporary Art and Design Museum in Manila, and M+ West Kowloon Cultural District in Hong Kong (2021), Solo exhibitions of Pinaree Sanpitak include House Calls at 100 Tonson Foundation, Bangkok (2020), and Breast Stupa Cookery: The World Turns Upside Down at Nova Contemporary, Bangkok (2020), Temporal Topography: MAIIAM’s New Acquisitions; from 2010 to Present at MAIIAM Contemporary Art Museum (2019), and In Search of Other Times: Reminiscence of Things Collected at JWD Art Space in Bangkok (2019). Kittima also runs a publication series, The Museum of Unfortunate Events (2017-), an open-ended volume of artist books featuring works from Thai and international artists whose creations are related to personal and collective memories of society from different events. She received her MA in Curating and Collections from Chelsea College of Arts, London.

   

  Edition 2025 Edition 2025
• Anna Colin
  Anna Colin is an independent curator, educator, researcher and gardener. She is engaged with critical pedagogy, institutional time and habitability, social botany, and art and land-oriented education historically and today. Anna directs the MFA Curating and co-directs the Centre for Art Ecology at Goldsmiths, University of London. She was a co-founder and director, between 2013 and 2020, of Open School East, an independent art school and community space in London then Margate. She was associate curator at Lafayette Anticipations in Paris (2014-20), associate director at Bétonsalon – Centre for art and research, Paris (2011-12), and curator at Gasworks, London (2007-10). Anna has curated exhibitions at venues including CA2M, Móstoles/Madrid; Whitechapel Gallery, London; and The Women’s Library, London. She co-curated the 2nd edition of the Dunkirk Art & Industry Triennale in 2023-24, at Frac Grand Large and LAAC in Dunkirk, on the relationship between energy and the arts over the past five decades. Anna holds a PhD in cultural geography and is the author of Alternative Pedagogical Spaces: From Utopia to Institutionalization (Villa Arson and Sternberg Press, 2025).

  Edition 2007
• Erica Cooke
  Erica Cooke is Curator for the collection of His Excellency Sheikh Jassim Bin Abdulaziz Al-Thani, focusing on Minimal, Post-Minimal, Process, and Conceptual Art of the sixties and seventies. Previously, she worked as part of the curatorial team at MoMA for the 2020 Donald Judd retrospective, and served as an educational fellow at the Whitney Museum of American Art, where she had previously participated in the museum’s Independent Study Program (ISP). She was also formerly involved in the Young Curators Residency Programme at Fondazione Sandretto Re Rebaudengo, where she co-curated an exhibition. She additionally curated shows at Princeton University Art Museum, The Kitchen, and other institutions, and her writing has appeared in exhibition catalogues, journals, and books. She holds degrees from Brown University, the University of Chicago, and Princeton University.

  Edition 2010
• Naz Cuguoğlu
  Naz Cuguoğlu is a curator and writer based in San Francisco whose work explores intersectional identities, diasporic experiences, collective practices, and the politics of joy. She is a curator at the Asian Art Museum, where she develops exhibitions, commissions, and public programs. In 2024, she co-curated the inaugural American Pavilion at the 15th Gwangju Biennale and received the Andy Warhol Foundation Curatorial Research Fellowship and the AAMC Propel Award. Her recent exhibition, Rave into the Future: Art in Motion (2025–26), examined rave culture as a site of collective joy, resistance, and speculative worldbuilding. Her curatorial experience includes exhibitions and programs at documenta fifteen, the 15th Istanbul Biennial, the Taiwan Pavilion at the 60th Venice Biennale, the 4th Istanbul Design Biennial, Fondazione Sandretto Re Rebaudengo, and Haus der Kulturen der Welt. She has previously held positions at KADIST, the Wattis Institute, the de Young Museum, and SFMOMA. Her writing has appeared in Art Asia Pacific, Hyperallergic, and Nka: Journal of Contemporary African Art. As co-founder of Collective Çukurcuma, she explores collaborative curatorial practice through reading groups, research, and international exhibitions.

  Edition 2021
• Andrew de Brún
  Andrew de Brún (Dublin, 1990) is an independent curator and researcher based in London. His practice is concerned with the importance of the landscape and urban environment as relating to memory and as being symptomatic of a national cultural identity. He has written extensively on the subject of ruination and on the significance of photography in tracing the shifting of social and political environments. He graduated from the National College of Art and Design in Dublin in 2012 with a Joint BA in Fine Art and History of Art. In 2016 he graduated with an MFA in Curating from Goldsmiths College, University of London, while also curating Shadows on the Walls; a photography exhibition in the Guardian Exhibition Space in King’s Cross, London that marked the centenary of Dublin’s 1916 Easter Rising. He is also committed to promoting the significance of gallery education having worked in learning with institutions such as the V&A Museum, White Cube and the Whitechapel Gallery, London.

  Edition 2017
• Joseph del Pesco
  Joseph del Pesco (USA, 1975) is an American curator, writer, organizer, and perennial collaborator living in the SF Bay Area. For the past 15 years, he’s been part of the leadership of KADIST, a globally networked institution founded in Paris in 2006. In 2011, he established KADIST’s fast-paced program of residencies, events and exhibitions in San Francisco, where he served as Director. In 2016, he became International Director, helping KADIST transition into an international program of collaborations with art centers, collections and museums around the world. del Pesco has facilitated numerous collaborations, expanded the organization’s network of advisors, and regularly contributed to the growing collection of 2800 artworks from 120 countries. Among his many projects and exhibitions with leadings artists, del Pesco created the first international residency for art magazines, reimagined an historic artist contract to fund a charity chosen by the artist, created a free-school by aggregating events across a city, and has co-organized events at the New Museum and Museo Tamayo and co-curated an exhibition at the Centre Pompidou. His sold-out collection of short stories about imaginary museums, The Museum Took a Few Minutes To Collect Itself, was published by Fogo Island Arts and Art Metropole in 2018. 

   

  Edition 2008
• Rosalie Doubal
  Rosalie Doubal (UK, 1984) is a London-based writer and curator. Currently she works as Associate curator at ICA, the Institute of Contemporary Art, London. She holds an MA Art History & English Literature at The University of Edinburgh (2007), and an MFA Curating at Goldsmiths University, London (2012). As part of a curatorial collaboration, Rosalie co-directed Edinburgh project space Sierra Metro from 2009 – 2012, curating over 20 exhibitions of new work by international early career artists, including three Edinburgh Art Festival presentations. Working independently, Rosalie recently curated the limited edition book 10,000 Hours, featuring five new commissions and presented at David Dale Gallery as part of Glasgow International Festival of Visual Art 2012. In London, working with long-term collaborator Matt Carter, the pair recently curated group show Not in The Corners at Maria Stenfors. Rosalie has contributed art criticism to numerous international publications including The Journal of Curatorial Studies and MAP magazine, and works as a visual art correspondent for The List (since 2007) and Time Out London (since 2011). Since 2007, Doubal has worked with various institutions, assisting Curators at Serpentine Gallery, London, Glasgow International Festival of Visual Art 2010, and Collective Gallery, Edinburgh.

  Edition 2013
• Molly Everett
  Molly Everett is Associate Director, Artist Relations at David Kordansky Gallery in Los Angeles, where she works closely with artists on exhibitions, institutional partnerships, public commissions, and long-term career development. Previously, Everett served as Assistant Curator at the Moody Center for the Arts at Rice University, where she organized exhibitions and public programs and supported new acquisitions and site-specific commissions for the Rice Public Art Collection. Before joining the Moody, she was Curatorial Assistant in the Modern and Contemporary Art Department at the Menil Collection in Houston. Earlier in her career, she worked with the LUMA Foundation on exhibitions and artist projects in New York, Arles, and Zurich, and participated in the Whitney Independent Study Program. She studied art history at the University of California, Berkeley, and Hunter College, City University of New York.

  Edition 2016
• Michele Fiedler
  Michele Fiedler is a Puerto Rican independent curator currently based in Montreal, Canada. She was the Curator at Sala de Arte Público Siqueiros in Mexico City (2016-2019), and worked as an associate researcher for the project Below The Underground: Renegade Art and Action in 1990s Mexico at The Armory Center in Pasadena, California; a project that was part the Getty’s Pacific Standard Time initiative. She has been Curator in Residence at the independent space Disjecta (now Oregon Contemporary) in Portland, Oregon (2016-17) and Fondazione Sandretto Re Rebaudengo in Turin, Italy (2012). She has collaborated with artists Melanie Smith, Ad Minoliti, Johanna Unzuetta, Naufus Ramírez Figueroa and Ximena Garrido-Lecca among others. She is interested in how information is produced and dispersed, how it formulates ideas of the normal, their subversion, and in how art can be a space that fosters conversation. Through her exhibition programs and research projects she provides spaces for political art and critique with perspectives towards gender issues and rights, Latin American historical, political and social conflicts, and art practices that have not been included in the larger historical framework.

  Edition 2012
• Kateryna Filyuk
  Kateryna Filyuk (Ukraine, 1986) lives and works in Kiev and Amsterdam. She is a curator and art critic. She holds a MA in Philosophy from Odessa I.I. Mechnikov National University. She has worked for the First Kyiv International Biennale of Contemporary Art ARSENALE 2012 as Managing Editor of the catalogue and Coordinator of the Discussion Platform. In 2012, she took part in the 4th Gwangju Biennale International Curator Course, followed by the MMCA International Research Fellowship at the National Museum of Modern and Contemporary Art of Korea with a final essay on Korean New Media Art, in 2014. She was a participant of the 21st course of De Appel Curatorial Programme 2015/16. Filyuk has been involved in the organization of exhibitions in various galleries and institutions and contributed to a number of Ukrainian and international magazines and online platforms such as Art Ukraine, and Metropolis M. Her recent curatorial projects include: Fake Hikers, MMCA Changdong residency, Seoul; One day in the life, Multimedia Space for Contemporary Culture Nástupište 1-12, Topoľčany (Slovakia); Rien ne va plus? Faites vos jeux! as a part of Untitled (Two Takes on Crisis), De Appel arts centre, Amsterdam; Social Contract, Izolyatsia, the Former Site of the Monument of Lenin in Kiev. Currently she is a curator at Dymchuk Gallery, Kiev. Filyuk is a project manager for Curatorial Program for Research.

  Edition 2017
• Chris Fitzpatrick
  Chris Fitzpatrick (New York, 1978) is the new Director of Kunstverein Munich. He has been the director of the not-for-profit contemporary art centre Objectif Exhibitions in Antwerp (Belgium) since 2012. After receiving a MA from California College of the Arts in 2009, he gained recognition for developing unconventional exhibition formats, often experimenting with the temporality of exhibitions. He has lent his artist-centric curatorial approach to exhibitions with Nina Beier, Bruce Conner, Mark Dion, Paul Elliman, Jos de Gruyter & Harald Thys, Joao Maria Gusmao & Pedro Paiva, Angie Keefer, Rosalind Nashashibi, Iza Tarasewicz, and many others. His writing and interviews have been published in Spike Art Quarterly, Pazmaker, Nero, Mousse, L’Uomo Vogue, Fillip, The Federal, Cura, The Baltic Notebooks of Anthony Blunt, Art Papers, as well as in numerous catalogs and books.

  Edition 2010
• Inês Melícias Geraldes Cardoso
  Inês Melícias Geraldes Cardoso (São Paulo, 1990) grew up in Lisbon. After graduating in Art History and Social Anthropology from the University of St Andrews, Inês worked as a curatorial assistant at Kunsthalle Lisbon and has previous work experience from institutions including the Peggy Guggenheim Collection and Situations, New York. Her research interests lie in the intersections between theory and practice and her MA dissertation at the Royal College of Art investigates exhaustion as a generative point of departure for curatorial practice. In her practice as a curator and writer, Inês seeks to develop collaborative models of practice that foreground artists and their work. This approach has been crucial to recent projects, including Sorry you missed me at the Royal College of Art and Planta: Notes on Botanical Dissidence at Acme Project Space. Forthcoming projects include an exhibition in Lisbon, selected in the 2016 edition of EGEAC’s Young Curators Open Call.

  Edition 2017
• Inti Guerrero
  Inti Guerrero (Bogotà, 1983) is a Hong Kong-based curator and educator. He is currently Co-Artistic Director of the 9th Yokohama Triennial and Adjunct Professor (MA) at the School of Creative Media-City University of Hong Kong. He was the co-Artistic Director of Ten Thousand Suns: the 24th Biennale of Sydney, tutor of the Curatorial Studies postgraduate programme at the Royal Academy of Fine Arts- KASK, Ghent (2021-2023); Artistic Director of bap – bellas artes projects in the Philippines (2018-2022); the Estrellita B. Brodsky Adjunct Curator, Latin American Art at Tate, London (2016-2020); Curator of the 38th EVA International, Limerick (2018); co-curator of Dakar Biennale, La Biennale de l’Art africain contemporain (2018); and Artistic Director of TEOR/éTica, San Jose (2011-2014). As an independent curator he curated or co-curated the exhibitions: Myth Makers, Sunpride Foundation – Tai Kwun, Hong Kong (2022); Long Green Lizards at Dakar Biennale, La Biennale de l’Art africain contemporain, Dakar (2018); Fraccionar at Casa Luis Barragán, Mexico City (2018); Soil and Stones, Souls and Songs (touring at MCAD, Manila, Para Site, Hong Kong, and Jim Thompson Art Center, Bangkok, 2016-2017); Chronicle of Interventions,’Tate Modern, London (2014); A Transatlantic Affair. Josephine Baker and Le Corbusier, Museum of Art of Rio-MAR in Rio de Janeiro (2014); A Journal of the Plague Year (touring at Para Site, Hong Kong; The Cube, Taipei; Arko Art Center, Seoul; and Kadist Art Foundation and The Lab, San Francisco; 2013-2015); The City of the Naked Man, Museum of Modern Art of São Paulo (2011); Eppur si Muove, Fondazione Sandretto Re Rebaudengo, Torino (2009), among others. 

  
  
  

  Edition 2009
• Katherine Jemima Hamilton
  Katherine Jemima Hamilton is a curator, writer, and educator born and raised on unceded Ligwilda’xw territory. In 2014, she moved to Treaty 13 territory, aka Tkaronto, to pursue a degree in art history at the University of Toronto, only to move again in 2019 to unceded Chochenyo Ohlone, then Ramaytush Ohlone territory, known by settlers as the Bay Area, to learn more about contemporary art and curating. She is grateful to have been a guest on these lands.Her research interests include feminism and technology, craft and ritual in contemporary frameworks, repatriation and unsettling practices for colonial institutions, and exploring sound as a framework for making, working, and living together. She has held various positions at institutions such as Collecteurs, The Wattis Institute, KADIST, SFMOMA, California College of the Arts, the McMichael Canadian Art Collection, Art Metropole, and The Museum at Campbell River, to name a few.

  Edition 2023
• Shaelyn Hanes
  Shaelyn Hanes is a curator, writer, and researcher based in San Francisco. She has collaborated on curatorial projects at Fondazione Sandretto Re Rebaundengo (Turin), CCA Wattis Institute for Contemporary Arts (San Francisco), the Berkeley Art Museum and Pacific Film Archive (Berkeley), and the di Rosa Center for Contemporary Art (Napa). In 2022, she co-founded Off Hours—a nomadic curatorial practice producing artist-first exhibitions. Hanes is currently Curatorial Researcher for Zlot Buell + Associates, an art advisory firm specializing in contemporary art. She earned a Master of Arts in Curatorial Practice from the California College of the Arts in 2021 and a Bachelor of Arts in Interdisciplinary Field Studies from the University of California, Berkeley in 2010.

  Edition 2022
• Jiayue He
  Jiayue He is a curator, mediator, and researcher based in the UK and Shanghai. Her research focuses on understanding the infrastructures of public cultural institutions, exploring how cultures and artifacts are institutionalized, collected, displayed and further influence people’s perceptions and knowledge systems. Central to her curatorial values is a commitment to emphasize the situations and scenarios of individuals who, for various reasons, find themselves lost in translation amidst dominant histories and institutional exhibition-making processes. She completed her master’s degree in Curating Contemporary Art in 2023 at the Royal College of Art, London. Her graduation dissertation focused on problematising the complexity of care by discussing the perceptions of contemporary art curating and UK-based institutional practices. While studying at the Royal College of Art, Jiayue co-founded the Backitchen curatorial collective, a group dedicated to unpacking the historical and social construction of ‘Asian’ and exploring the potential of Asian art and its social intervention and identities. The group has curated solo artist and group shows at prominent organizations, including the Venice Arsenale, Behavan Gallery, and Liquid Gold Studios in London. In her forthcoming project at Staffordshire Gallery, London, where she collaborates with two artists, she works as the project curator, exploring the notion of contemporary archives and seeking diverse ways for individuals to connect with their roots and claim their identities through collective creativity.

  Edition 2024
• Nora Heidorn
  Nora Heidorn (Germany, 1990) is a curator and postdoctoral researcher working at the Berlin Museum of Medical History and the University of Vienna. Her practice is led by transdisciplinary research investigating the complex politics of health, sexual reproduction, and care. She does this through an intersectional feminist lens and using curatorial and artistic research methods. She writes for academic and arts publications. Nora completed her PhD in the Health and Care Research Cluster at the Royal College of Art, London in 2025 with a full scholarship from UK Research and Innovation. The work she created and exhibited together with Lynne Kouassi between 2022-2025 was shortlisted for the 2025 Feminist Art Prize at IKOB Museum, Belgium. Nora’s curated exhibitions include Horizontal: Politics and Poetics from the Sickbed, Berlin Museum of Medical History (2026, co-curated with Monika Ankele); Being Horizontal, Project Arts Centre, Dublin (2023); Onyeka Igwe: Dancing with the Archive, Uferstudios, Berlin (2022); London Community Video Archive Commission, Goldsmiths College, London (2020); Sick & Desiring, Bergen Assembly, Bergen (2019); Coming Soon, Fondazione Sandretto Re Rebaudengo, Turin (2018) and The problem with having a body / is that it always needs to be somewhere, The Approach, London (2017).

  Edition 2018
• Aigerim Kapar
  Aigerim Kapar (Kokshetau, Qazaqstan, 1987) is a curator, artist, and interdisciplinary researcher whose practice brings together contemporary art, ecological justice, decolonial thought, and community-based research. In 2015, she co-founded Artcom Platform, a collective developing long-term artistic, educational, and public initiatives rooted in practices of care, collective memory, nomadic knowledge, and climate justice. In 2017, she initiated Art Collider, an experimental school connecting artists, scientists, local communities, and knowledge keepers through collaborative learning. Kapar currently co-leads Care for Balkhash, a long-term initiative that brings together artistic research, community engagement, and ecological care around the ecosystem of Lake Balkhash, and co-curates Interweaving Climate, Water(s) and Communities, a transnational exhibition and public programme examining hydrosocial relations, climate justice, and community-based knowledge. Her work as part of Artcom has been presented internationally, including at the 13th Berlin Biennale for Contemporary Art (2025) and the XI Jatim Biennale. She is currently co-developing new commissions for the Qatar Museums Quadriennale and Transmediale Berlin (2027).

  Edition 2024
• Alison Karasyk
  Alison Karasyk (U.S.) is an independent curator based in Brooklyn, New York. Her research interests focus on the intersection of gender, space, memory and materiality. Karasyk has held curatorial and editorial positions at the North Norwegian Art Centre, the Brooklyn Museum, CRUSH Curatorial, the Museum of Modern Art, and Aperture Foundation, New York. She was Assistant Curator of the Lofoten International Art Festival (LIAF) 2017: I Taste the Future. Karasyk completed her MA at the Center for Curatorial Studies at Bard College (CCS Bard), New York, and her BA at Oberlin College, Ohio. She is the 2018 recipient of the Ramapo Curatorial Prize. Karasyk is currently working on a research and exhibition project aimed at cultivating new dialogues on the Scandinavian witchcraft trials and the relevance of these historical events of gendered and indigenous violence through the lens of contemporary art.

  Edition 2020
• Julia Kläring
  Julia Kläring (Vienna, 1978) graduated in Visual Arts at the Academy of Fine Arts in Vienna, where she specialized in Conceptual Arts, Performance Arts and Video. She participated in the curatorial program of Ecole du Magasin, Grenoble (France). She is currently working on various artistic and curatorial projects that deal with performance and its intersections with text and image formats, such as documentary practices. She took part to different exhibitions among which: She Devil 3, Studio Miscetti, Roma, and National Museum of Contemporary Art, Bucharest (2009), Salon Fauxpas brutal, Vienna (2008), Diskurs-festival: Cyborgs crossing, Performance-Festival, Giessen, Germany (2008), Art-e-conomy at Challengers! curated by Marko Stamenkovic, LOM, Venice (2007). Among her curatorial projects: To store stories, exhibition and publication, conceived with Katharina Lampert, IG Bildende Kunst, Vienna (2009), Performing Memory, itinerant series of conversations (2009), Point.doc, curatorial project, realized in the context of Ecole du Magasin (2008), Nicht nur ein Bild, sondern eine ganze Welt (Not Just an Image, But a Whole World), for the Kunstraum Niederoesterreich, Vienna (2012). From 2010 to 2011 she followed the research and performance project 37 Years too Late, which was shown in stages in London, Dornbirn and Vienna.

  Edition 2009
• Ginny Kollak
  Ginny Kollak (New York, 1981) is a curator, writer, and editor specializing in contemporary art. She is the curator of exhibitions at the Philip and Muriel Berman Museum of Art in Collegeville, Pennsylvania (USA). She studied art history and English at Williams College and received a master’s degree from the Center for Curatorial Studies at Bard College in 2010. From 2003–2008, Kollak worked at the Tang Teaching Museum and Art Gallery at Skidmore College, Saratoga Springs, New York, where the exhibitions she curated dipped into topics as diverse as sleepwalking, furniture, and the iconography of stripes including Tim Rollins and K.O.S.: A History (2009), Dario Robleto: Alloy of Love (2008–9), and America Starts Here: Kate Ericson and Mel Ziegler (2005). She received a MA from the Center for Curatorial Studies at Bard College. Most recently Kollak worked with the Stockholm-based artist duo Goldin+Senneby to produce a new episode of Headless, their ongoing project using strategies of fiction to investigate the shadowy realm of offshore finance, which included a research headquarters at CCS Bard and a mini-symposium co-organized with Rhizome and presented at the New Museum. She has published essays in the journal Alphabet Prime and the Tang exhibition catalogues Lives of the Hudson and Twice Drawn.

  Edition 2011
• João Laia
  João Laia (Lisbon, 1981) is a writer and curator. Holds a BA in Cultural Communication, MAs in Film Curating and Film Studies and the post-graduate curatorial research programme CuratorLab. He is a contributor of Frieze magazine and Público newspaper, content researcher for the Modern Art Centre of Calouste Gulbenkian Foundation, Lisbon, and curator of the moving image exhibition of IndieLisboa International Film Festival. In 2012 he was associate curator of Waterpieces – Contemporary and Video Art Festival in Riga. Recent curatorial projects were held at BES Arte e Finança in Lisbon, CCCB – Center for Contemporary Culture of Barcelona, Moderna Museet in Stockholm, Cell Project Space, the Mews and Whitechapel Gallery in London. My background in social sciences has led me to explore the exhibition as a moment where the equation between artistic autonomy and social belonging is tested and enacted by the combined actions of artist, curator and audience. My early interest in public art has evolved towards an understanding of the white cube/black box as a site of tension between private and public spaces. In an attempt to explore the friction between personal and collective dynamics regarding the intimate layerings of the visitor’s experience and of artistic production, I have focused on subjectivity as a means of investigating how the live encounter-event relates to individual frames of reference and likewise how a wider living environment can be recalled, questioned and reconfigured through such moment. In this sense, my projects have explored the idea of cultural production-consumption, conceiving the exhibition as a forum for reflection, investigation and exchange, a fluid space of inquiry via the articulation of different practices that not only incorporate the physical space of presentation into their structure but also and objects in settings such as displays, talks or screenings. These considerations have led me to engage with site-specific especially take into account the immaterial context of the social and symbolical dynamics inhabiting that location. I have been particularly drawn to topics related to history and memory, which I problematise around speculative types of engagement: the mechanisms used to disseminate past and present events hold fictional layers that allow for subjective interactions. My practice looks at these potentialities and aims at creating situations where dominant frames of understanding might be questioned and re-created.

  Edition 2014
• Yueh-Ning Lee
  Yueh-Ning Lee is an independent curator and researcher based between Taipei and London. She holds an MFA in Curating at Goldsmiths, University of London (2023), where she later worked as a Junior Fellow in the MFA Curating programme (2023–2024). Lee’s background is shaped by her work experience of exhibition-making in public art and off-site projects in Taiwan. Her curatorial practice engages with time-based media, performance, and installation, approached by the methods of interdependence, care, and slowness. Her current research investigates the intersections of body politics, ecology, and technology, with a particular focus on vulnerability and precarity as regenerative capacities within the fluid self. She is also interested in how technological acceleration and Capitalism reshape emotional landscapes and the relationships between humans and more-than-human agencies.
  Recent projects include: Welcome to my Crib (GUTS PROJECTS, London, 2024); Lavender, Hibernation and Neon (The Crypt Gallery, London, 2024); and Those Who Dream, Dine (Upper Ankyle, London, 2023). As part of the curatorial duo Otherwise, she co-curated With(out) Language: In conversation with Karin Keisu and Josse Thuresson (Art/Work Association, Auto Italia, London, 2023) and (…) Forgot to Remember to Forget (…) (Gerald Moore Gallery, London, 2022). Lee is also the co-initiator of Exhausted Feminist Hybrid Species reading group, a peer-led platform that fosters collective learning and critical review centred around eco- and cyberfeminism.

  Edition 2025 Edition 2025
• Dorota Michalska
  Dorota Michalska (Warsaw, 1988) is a curator and art historian based in Warsaw and Stockholm whose practice focuses on the political dimension of contemporary art. She worked at the Museum of Modern Art, Warsaw, from 2012 to 2015 as an assistant curator focusing on polish films from the 60’ and 70’. In 2015 Michalska completed CuratorLab, a nine months curatorial research fellowship at Konstfack University of Arts, Crafts and Design in Stockholm, led by Joanna Warsza. Her last project include a film screening Extremely Loud, Incredibly Close (SALT Beyoglu, Istanbul, 2014) and a group exhibition Through a Glass, Lightly (Tensta konsthall, Stockholm, 2015). She is a contributor to several polish art magazine such as Obieg, Szum and Dialog. Michalska was resident of the Curatorial Program for Research: Eastern and Northern Europe in October 2015. Currently she is working on an exhibition project on queer archives in the former Eastern bloc before 1989.

  Edition 2016
• Pádraic E. Moore
  Pádraic E. Moore is a writer, curator and art historian. He holds a BA in History of Art and English Literature from University College Dublin (2004), an MA in Visual Art Practices from IADT, Dublin (2007) and completed CuratorLab, the postgraduate programme at Konstfack University, Stockholm (2010). Moore is a former resident of the Jan van Eyck Academy, Maastricht (2014-15). Moore’s practice is shaped by the belief that visual art enables alternative modes of interaction in a world increasingly led by techno­logical rationality. Moore’s curatorial methodology is meticulous but subjective and is informed by an acute awareness of the artist’s individual position. He is particularly interested in the format of the group exhibition as a platform for making collective, critical statements. Moore is Curatorial Programme Mentor at De Appel, Amsterdam.Recent research has focused upon the influence that esoteric philosophies have had upon the literary and visual arts. Several projects have explored how organisations such as the Theosophical Society offered a vital catalyst for change in late 19th and early 20th century art. Moore’s projects often examine how contemporary culture has embraced aesthetics and ideals informed by such esoteric traditions. Chronicling the work of artists who refer to or follow these traditions is also an integral aspect of his practice. Recent projects include: The Museum of Ancient History, UCD, Dublin (2021) The Great Invocation, Garage Rotterdam, (2020) Orgonomics, Garage Rotterdam (2019) The Last Great Album of the Decade. The LAB, Dublin (2019), Letters of Last Resort, Damien and the Love Guru, Brussels (2018) and The Width of a Circle, W139, Amsterdam (2018).

  Edition 2011
• Kim Nguyen
  Kim Nguyen (Winnipeg, 1983) is the director/curator of the non-profit space Artspeak, Vancouver (Canada), where she has produced numerous exhibitions and publications by regional, national, and international artists, including Aaron Flint Jamison, Marina Roy, Abigail DeVille, Danh Vo, and Alex Da Corte. In 2009 she obtained a Masters in Art History (Critical and Curatorial Studies) at the University of British Columbia, Vancouver. Formerly a director and curator at Access Gallery, she has guest curated for the Belkin Satellite, PLATFORM, and the Or Gallery, where she was Canada Council Curator-in-Residence from 2009-2010. Artspeak is an artist-run centre whose mandate is to present contemporary practices, innovative publications, bookworks, editions, talks and events that encourage a dialogue between visual art and writing. Working within this mandate Nguyen continually challenges the notion of language, seeking overlaps between the written word and material communication, while extending the definitions of criticality beyond theoretical texts. Frequent themes in her practice include representations of diversity in popular culture, anxiety, and gossip. She is interested in artists working with vernacular materials to respond to contemporary conditions, with a focus on artists who investigate constructions of identity, nostalgic authenticity, and acquired and invented memory. As well, she maintains an interest in independent publishing within an artist-run ethos, particularly projects that investigate the publication as an artistic medium. Explorations of a sense of place remain a throughline in Nguyen’s work, in particular with recent exhibitions she has curated that look at running away from and returning home, geographic displacement, and cultural appropriation. Issues of class, race, and gender, and their persistent complications and disappointments, greatly inform her practice, and she is committed to extending the knowledge and presentation of diverse artists into a wider discussion of how audiences recognize, integrate, and engage with work that is innovative and progressive beyond its cultural definitions.

  Edition 2014
• Marina Valle Noronha
  Marina Valle Noronha (Brazil, 1981) is an independent curator who lives and works between New York and Belo Horizonte (Brazil). After taking part in the CuratorLab at the University of Art and Design Konstfack Stockholm (2010), she obtained a Master’s Degree in Curatorial Studies at CCS Bard, Annandale-on-Hudson (2013). She has curated several exhibitions and projects at institutions in Brazil and Europe including The Showroom (London), Casco (Utrecht, Netherlands), Moderna Museet (Stockholm) and has recently collaborated with the Museo del Barrio and Abrons Arts Center, New York (2013 – 14). Noronha’s curatorial focus is on the crossings between art, design and theory. She has been emphasizes the relationships between temporary exhibitions and permanent collections, proposing curatorial strategies that connect systems of display to the administrative processes that they depend upon. Curatorial (Systems) Manifesto: On Collecting and Curating as a System Museums and art collecting institutions are not sustainable and are in crisis. When the museum collection is considered to be permanent, museums become larger and less manageable institutions. Museums are not repositories, and to analyse them as open systems ensures them a new form of survival. Curating must internally transform through a curatorial system that aims to stabilise it within the hosting institution, by overemphasising maintenance, adjustment, and equilibrium. A paradigm shift from objects to systems allows a broader approach towards the system of contemporary art. Curating systems extends to the contemporary art economy in relation to domains such as law, science, politics, and so on. Curators’ roles are not defined narrowly by exhibitions making. Collection curating should be more theorised and visible by factors contained in all of these systems. In order to justify the high cost of maintaining collections, they should circulate more often (and thus be seen by more visitors). In order to keep operating, museums need to balance more accessions and deaccessions, as part of collection management. Effective collection management can help the museum in crisis and, moreover, disposals, though seldom used, have a significant role in collections formation. By collecting through balancing accession and deaccession, contemporary art institutions can actually reflect on what we understand as museum and the status of contemporary art itself. It accommodates collections in constant flux of accessioning and deaccessioning artworks, through acquisition, exchange, donation, transfer, exchange, and sale. Marina Valle Noronha is currently undertaking a PhD at Aalto University.

  Edition 2014
• Andria Nyberg Forshage
  Andria Nyberg Forshage (she/they) is a writer, poet, curator and artistic researcher. Their work concerns trans and queer aesthetics, perception, desire and survival in between, outside, or against established frames. She is a Contributing Editor of Paletten Art Journal. In 2022-23 they were a participant of CuratorLab at Konstfack University of the Arts, Stockholm, engaging with the 4th Autostrada Biennale in Prizren. The same year she collaboratively curated Another Possible Inner Exterior Moment To Moment Nonlocation Location at Konsthall C in Stockholm, part of an ongoing project on transfeminist ways of un/making worlds and sense. They have given lectures on their research in many academic contexts, art institutions, and other spaces. Her writing—genre-queer and trans-disciplinary, critical and experimental—features in several art publications, poetry journals, and performances, as well as in anthologies including a forthcoming peer-reviewed reader on Queer Death Studies.

  Edition 2024
• Christy Eóin O’Beirne
  Christy Eóin O’Beirne (Bradford, UK, 1997) is a curator whose work investigates entanglements between land, labour and language. Currently, O’Beirne is Exhibitions Curator at Metroland Cultures (2023–), where he is producing Rushes, an iterative exhibition programme illuminating local migrant and working-class histories of resistance. In 2025, O’Beirne was Postdoctoral Research Associate on an AHRC-funded project whose research into textile mills spanned Bradford, UK and New Jersey, USA, and culminated in an international symposium. He was nominated for the 17th edition of the Young Curators Residency Programme at Fondazione Sandretto Re Rebaudengo, Turin, IT, where he co-curated a major group exhibition featuring over ten commissions, and published an accompanying book, I live in constant fear of the Western descent into— (Axis, axis, 2023). Previously, O’Beirne co-ordinated the 25th Anniversary edition of Deptford X festival, which included over 150 artists (2023). He also received a Curatorial Fellowship from Goldsmiths CCA (2021-22), where he assisted with several major exhibitions. O’Beirne holds an MFA in Curating from Goldsmiths, University of London (2019-21) and a BA (Hons) in English Literature, Art History & Visual Culture from University of Exeter (2015-2018).

  Edition 2023
• Fiona Parry
  Edition 2008
• Andrey Parshikov
  Andrey Parshikov (Russia, 1985) is a curator. Since 2004 he worked in Xl-gallery, as the coordinator and manager of the branch-XL-projects gallery in the cultural center ARTStrelka, Moscow. In the summer of 2004 he made a project for the festival PUSTO Comedia del Arte: sequel for submission Madrid video-festival Vallecas Puerto del Cine and Kansky video-festival. In 2005, as implemented curator with O. Lopuhova draft Ars Longa in the context of the Bulgakov festival Manuscripts don’t burn. Until recently Parshikov has worked as an associate curator for an emerging Moscow contemporary art gallery GMG, helping to develop the exhibition policy, concept and image of the gallery on the international art scene. He has curated three major museum exhibitions, one of which – Ultra-New Materiality – was included in the program of the III Moscow Biennial of Contemporary Art 2009. In 2011 he curated an innovative theatrical exhibition, Human Oratorio. Afghan-Kuzminki, where theater, drama, music and the real works of contemporary art developed the dramaturgy of this curatorial approach, connected to Eisenstein Montage Theory. He curated self-authors program for two years Ultra-New Materiality in Contemporary City Foundation. In 2008 he presented the project The Great Repression with emerging Russian video-artists, at the White Box gallery, New-York. Since 2009 he has been a member of the editorial board of Moscow Art Magazine – the leading intellectual contemporary art publication in Moscow, and he is author of many critical articles in the journals Art-Chronicle, Zaart, Afisha, Vremya Novostey, Independent newspaper, internet-portals Gif.ru and Art-Times, articles for gallery catalogues, Russian and foreign publications.

  Edition 2012
• Ursula Pokorny
  Ursula Pokorny is a curator from Vienna, Austria. She is currently the curator of the Austrian central bank’s art collection and is writing her dissertation on artist Ceija Stojka. In 2025, Ursula participated in the YCRP at the Fondazione Sandretto Re Rebaudengo in Turin. Previously, she was Assistant Curator at Kunstsammlung Nordrhein-Westfalen in Düsseldorf, where she oversaw a retrospective of Yoko Ono in collaboration with Tate Modern in London. During her graduate studies, Ursula was a fellow in the Department of Media and Performance at the Museum of Modern Art in New York. She also assisted director Elena Filipovic at Kunsthalle Basel, curator Adam Szymczyk at the Academy of Fine Arts in Vienna, and worked for Galerie Martin Janda in Vienna. Ursula holds an M.A. from the Center for Curatorial Studies at Bard College in New York and a B.A. from the University of Applied Arts in Vienna.

  Edition 2025 Edition 2025
• Pavel S. Pyś
  Pavel Pyś is the Curator of Visual Arts and Collections Strategy at the Walker Art Center. At the Walker, he has curated solo exhibitions by Abbas Akhavan, Daniel Buren, Paul Chan, Pan Daijing, Michaela Eichwald, Christine Sun Kim, Carolyn Lazard, Ralph Lemon & Kevin Beasley, Sarah Michelson, and Elizabeth Price, as well as the group exhibition The Body Electric (2019). In 2018, he was awarded an Andy Warhol Foundation Curatorial Fellowship which aided research towards Multiple Realities: Experimental Art from the Eastern Bloc, 1960s-80s, the largest North American survey of art from Central Eastern Europe to date. Pyś is closely involved in leading the strategic vision, development, and long-range planning of the Walker’s collection. He has curated exhibitions at numerous venues including the Whitney Museum of American Art, New York, Vancouver Art Gallery, Phoenix Art Museum, The Contemporary Austin, Museion Bolzano, and Zachęta – National Gallery of Art, Warsaw. Previously, Pyś was the Exhibitions and Displays Curator at the Henry Moore Institute (Leeds, UK). He received an MFA in Curating from Goldsmiths College (2010) and an MSc in Culture & Society from the London School of Economics (2009). In 2025, he was awarded a Center for Curatorial Leadership Fellowship. He participated in the 2011 edition of the YCRP.

  
  
  

  Edition 2011
• Camille Regli
  Camille Regli (Switzerland) is an independent curator based in Zurich and Biel/Bienne after several years in London. She is the co-founder and curator of the contemporary art centre KRONE COURONNE and has collaborated with institutions including Kunsthaus Biel/Centre d’art Bienne, the City of Geneva, the Swiss Pavilion at the Venice Biennale, the Istanbul Biennale, and the Centre d’Art Contemporain Genève. In her curatorial work, she explores how objects, bodies, and space generate alternative forms of experience, focusing primarily on small narratives that offer feminist and speculative readings of contemporary society. She is also part of curatorial collectives including Zaira Oram and Collectif Détente, with whom she develops long-term research projects. She holds a master’s degree in Cultural Studies from King’s College London and an executive master’s in Curating from the Zurich University of the Arts.

  Edition 2020
• Kari Rittenbach
  Kari Rittenbach (United States, 1985) is a critic and independent curator based in Brooklyn, New York. She attended Yale University, the Courtauld Institute of Art, and the Whitney Independent Study Program. Her writing has appeared in Afterall, Artforum, Art Papers, Frieze, Flash Art, Paper Monument, Texte zur Kunst, and in artist books and museum catalogues. She has organized performances, exhibitions, and events at The Kitchen (New York), The Whitney Museum (New York), Sculpture Center (New York), Artists Space (New York), Barbican Art Gallery (London), and other institutions. Recent projects include What Everybody Knows (with Monika Senz, at Svetlana, New York & Jenny’s, Los Angeles, 2017), Trees in the Forest (Yale Union, Portland, OR, 2016), Fever (Galerie Emanuel Layr, Vienna, 2016), and Dead Ends (1001 44th Rd, Long Island City, 2015). She has lectured in Art Theory at the University of Washington, and is on the editorial committee of May Revue.

  Edition 2018
• Alice Sarmiento
  Alice Sarmiento is an independent curator, activist, and seamstress. In 2024, she joined the Faculty of Information and Communication Studies at the University of the Philippines – Open University, where she handles courses on art and multimedia. The following year, Alice founded Spare Bedroom, a time-bound curatorial platform that ran a seven-part exhibition program from July 2025 to July 2026 in Quezon City, Metro Manila. Aside from FSSR, Alice has completed fellowships in curation from the Japan Foundation Asia Center, as well as in Cultural Journalism from Akademie Schloss-Solitude, and Art, Theory, and Criticism from Kunstlerhaus Buchsenhausen. She has curated exhibitions with support from the Japan Foundation Asia Center and through commissions from the Cultural Center of the Philippines and the Iloilo Museum of Contemporary Art. She was part of the curatorial team of the 2018 Manila Biennale and curatorial lead for the 2023 Visayas Visual Arts Exhibition and Conference (VIVA ExCon), titled Suba sa Iraya, in San Jose and Sibalom, Antique. Alice is an active member of Rural Women Advocates, a feminist collective that uses creative labor to propagate action and awareness of issues concerning food security and genuine land reform in the Philippines. 

  Edition 2021
• Katie Simpson
  Katie Simpson (Midlands, UK) is Senior Curator at Nottingham Contemporary. Her current research interests align with socially, politically and environmentally engaged practices that propose alternatives to dominant narratives and methodologies. Her practice is guided by curiosity, encounters and openness with an aim to dismantle hierarchies of, and access to, art and culture. She has experience of commissioning ambitious and experimental artistic projects and public programming, as well as organising and nurturing artistic residencies and community engaged projects. In a freelance capacity, she mentors and supports artists with funding, grant, and residency application writing, and with the development of artistic and curatorial projects. Previously, she held the positions of Curator of Exhibitions at Nottingham Contemporary, Studio Manager & Exhibitions Hub Curator at Goldsmiths (London), Co-Director at not-for-profit art organization Jupiter Woods, (London) and Curatorial Assistant at Goldsmiths Centre for Contemporary Art (London). In 2020 she participated in the Fondazione Sandretto Re Rebaudengo’s YCRP (Young Curator’s Residency Programme). She received a BFA in Visual Culture from the University of Brighton (2013) and MFA in Curating from Goldsmiths (2018).

  Edition 2020
• Elena Sorokina
  Elena Sorokina is a Russian-born, Paris based curator and art historian, alumna of the Whitney Museum of American Art ISP, New York. She was Chief-curator of the Celeste Prize in 2014. She recently co-organized Spaces of Exception, a special project for the Moscow Biennial, symposium What is a postcolonial exhibition?, a collaborative project of SMBA/Stedelijk Museum, Amsterdam, and she is currently working on a special project for the upcoming Moscow Biennial. Her recent exhibitions include (selection): Temps Trituré. Agnes Varda at LVMH in Brussels, Petroliana at Moscow Museum of Modern Art; Laws of Relativity at the Fondazione Sandretto Re Rebaudengo, Turin; On Traders’ Dilemmas (Tracing Roads Through Central Asia) at Yerba Buena Center for the Arts, San Francisco; Scènes Centrales at Tri Postal, Lille (France); Etats de l’Artifice at the Musee d’Art Moderne de la Ville de Paris, and others. She published in numerous catalogs, and has been writing for Artforum, Flash Art, Cabinet Magazine, Manifesta Journal, Moscow Art Magazine, and other publications. Sorokina is a frequent speaker in international conferences and has been invited as guest lecturer to ISCP, New York; Garage CCC, Moscow; HISK, Gent (Belgium); and other institutions.

  Edition 2007
• Zsuzsanna Stánitz
  Zsuzsanna Stánitz (Hungary, 1988) is a curator with extensive experience across contemporary art, photography, architecture, science and technology. She holds an MA in Curating Contemporary Art from the Royal College of Art, London, and an MA in Communication and Media Theory from Eötvös Loránd University, Budapest. Her expertise encompasses exhibition-making, public programming, artist commissions, residencies, provenance research, collection management and digital humanities. She has worked on interdisciplinary projects with institutions including Ludwig Museum Budapest, Calvert 22 London, Fondazione Sandretto Re Rebaudengo Turin, Kranich Museum and the European Molecular Biology Laboratory (EMBL). She is currently Curator and Gallery Manager at Leica Gallery Heidelberg, where she develops photography exhibitions and hosts a podcast with guests from the international photography scene. Alongside her curatorial practice, she is pursuing a research project examining how European art institutions engage with AI, focusing on its integration into programming and institutional policy, and on the cultural and social responsibilities emerging from these developments. A particular area of interest in her practice is the role of arts exposure in early childhood development, and how meaningful encounters with art can foster curiosity, creativity, critical thinking and social awareness from an early age.

  
  

  Edition 2015
• Alec Steadman
  Alec Steadman (UK, 1983) is a curator and artist based in London, where he completed his BA in Fine Art at Middlesex University. He was a participant of de Appel Curatorial Programme, Amsterdam (2011/12) co-curating Three Artists Walk into a Bar…, de Appel Arts Center and various locations (2012) and Why Stay If You Can Go?, Stedelijk Museum & de Appel Arts Center (2012). Prior to this he spent 5 years as Head of Exhibitions for Zoo Art Fair, later becoming Associate Curator for the same organisation. He has also worked as Interim Event Manager, The Serpentine Gallery; Fair Manager, SUNDAY Art Fair; Programmes Coordinator, Max Wigram Gallery and Studio Assistant for Smadar Dreyfus, as well as curating numerous projects independently. He was a member of artist collective The Hut Project from 2005-2011. His solo exhibitions include: Giles Said…, Limoncello (London, 2010), Machine Gun Corridor, BolteLang, (Zurich, 2010), and Old Kunst, ICA (London, 2009).

  Edition 2013
• Kate Strain
  Kate Strain (Dublin, 1983) pursues a curatorial practice through event and exhibition making. Currently Acting Curator at Project Arts Centre, Dublin (Ireland), Strain has worked both independently and in an institutional capacity in Ireland and internationally. In 2014 she completed de Appel Curatorial Programme, Amsterdam. Strain holds an MA in Visual Arts Practice from IADT Dun Laoghaire, and a BA in History, and the History of Art and Architecture from Trinity College Dublin. Recent exhibitions include The Centre For Dying On Stage #1, a group exhibition and expanded public programme at Project Arts Centre, Dublin; Father, Can’t You See I’m Burning? co-curated by participants of de Appel Curatorial Programme, de Appel Arts Centre, Amsterdam; and Tonight, you can call me Trish, co-curated with Rachael Gilbourne under the aegis of their joint curatorial practice RGKSKSRG, at the LAB, Dublin (as part of Dublin City Council Emerging Curator Award 2014). On-going and upcoming projects include On Curating Histories – a research-based generative lecture series supported by an Arts Council Project Award, the first public iteration of which will unfold in 2015 at the National College of Art and Design, Dublin (as part of MA Art in the Contemporary World); Performance as Process – a short curatorial residency at Delfina Foundation, London; and a 9-month residency at studio 468 (Common Ground, Dublin) set to culminate in a solo exhibition with Irish artist Emma Haugh at NCAD Gallery (curated by RGKSKSRG).

  Edition 2015
• Angelica Sule
  Angelica Sule (UK, 1984) is a curator based in London, whose practice focuses the use of performance and sound as object in exhibition making. She graduated from the Royal College of Art in 2014, and she has previously worked at the University of the Arts London and Gallery Primo Alonso, London. Her recent projects include: Nail’d It (Wysing Arts Centre, Cambridge, UK, 2014); ECHO Radio (RCA, London, 2014); … all silent but for the buzzing … (RCA, London, 2014); A Limited Engagement: Performance Series (UAL, London, 2012; A Thousand Years: Martine Feipel & Jean Bechameil (UAL, London, 2014).

  Edition 2015
• Ariane Sutthavong
  Ariane Sutthavong is involved in curation, writing and translation projects at the intersection of art and politics in Bangkok. She co-founded the ‘inappropriate BOOK CLUB’, an ongoing initiative centred around the collective reading and writing of texts, supporting a third view of contemporary art in Thailand beyond both the confines of the state and the interests of capitalism. She is also a member of the London-based collective ‘tent’, exploring practices and theories that re-envisage dominant structures through temporary and tentative configurations and solidarities.

  Edition 2023
• Eunice Tsang
  Eunice Tsang is a Hong Kong-based cultural worker whose practice is rooted in community-building and the power of collective experience. As the founder and director of Current Plans, a nonprofit art space established in 2020, she has been highlighting playful and cross-disciplinary dialogues, from performance parties to communal cooking, to foster a social ecosystem where emerging creatives and the public interact beyond the passive gaze of the gallery. Tsang’s institutional experience includes her role as Associate Curator at M+, where she spearheaded the Asian Avant-Garde Film Festival and curated the museum’s Live Art program, spanning music and large-scale public events. Her international footprint is marked by curatorial research at Fondazione Prada (2025) and the Fondazione Sandretto Re Rebaudengo Young Curators Residency (2022). Recent projects include the inaugural exhibition for Octone Foundation (2026), Colours of Humanity Arts Prize at the Goethe-Institut (2024-ongoing), the Trieste Biennale (2023), and BOOKED: Art Book Fair at Tai Kwun Contemporary (2015-2020).

  Edition 2022
• Rosa Tyhurst
  Rosa Tyhurst is a curator from South Wales and based in South London. She currently works as curator at Gasworks, London, where she collaboratively devises and delivers a programme of exhibitions, residencies, public programme and participation projects. Prior to Gasworks, she worked at Nottingham Contemporary and at Spike Island, Bristol. Rosa has curated exhibitions and programmes internationally, at the Wattis Institute, San Francisco (US); Cloaca, San Francisco (US); Royal Nonesuch Gallery, Oakland (US) and DREI, Köln (DE). In 2019 she participated in Fondazione Sandretto Re Rebaudengo’s Young Curator’s Residency Programme in Turin, Italy. Her writing has been published in Art Monthly, Elephant, Hyperallergic, Contemporary Art Reviews Los Angeles, ArtPractical, and she has contributed to publications on Veronica Ryan, Candice Lin and Peggy Ahwesh. Rosa is a graduate of California College of the Arts’ MA in Curatorial Practice.

  Edition 2019
• Jeppe Ugelvig
  Jeppe Ugelvig is a curator, historian, and critic based in New York City. He is the author of two books: Fashion Work (2020) and Commodity Ecumene (2024). As a curator, Jeppe has organized more than a dozen exhibitions in institutions and museums around the world, and conducted curatorial residencies and fellowships at MMCA Seoul, Delfina Foundation London, ISCP New York, and the Kramlich Collection in Napa, CA. As a critic, Jeppe has written extensively about the international art world for more than a decade, publishing regularly in Artforum, Frieze, and Spike Art Quarterly, where he serves as contributing editor. For the past decade, Jeppe has taught and lectured at universities around the world such as NYU, The New School, Goldsmiths, IUAV, CCS Bard, and Rutgers. Curated museum exhibitions include Endless Garment: Atlantic Basin at Pioneer Works in New York (2026), building on previous exhibitions staged at X Museum in Beijing (2020); The Cosmos Within at ARoS, Denmark (2022); Witch-Hunt at Kunsthal Charlottenborg (2020); Phantom Plane at Tai Kwun, Hong Kong (2019). With Hans Ulrich Obrist, he has curated numerous public art exhibitions and biennales, including the 2022 Future Ours at the United Nations and the 2023 and 2021 Charlottenborg Bienniales.

  Edition 2019
• Pelin Uran
  Pelin Uran is an Istanbul based curator. After she completed her studies at Bard College Center for Curatorial Studies in 2005, she has worked at Fondazione Sandretto Re Rebaudengo in Turin. Now, working as a free-lance curator, Uran recently curated Character 1: Let’s talk about y/our anger, Character 2: But what do you mean by “anger”? (Bilsar, İstanbul, 2025), Among Friends: One Chapter of a Long Story (Galerist İstanbul, 2023) Also Your Wound, Rosa (Kurtulus Greek Primary School, İstanbul, 2022), we do not know this to be so (Galeri Nev İstanbul, 2018), Endgame (Loop Alternative Space, Seul, 2009), a forest and a tree (Kunsthalle Exnergasse, Vienna, 2007), An Artist Who Cannot Speak English is No Artist ( Artists Space, New York, 2006), a forest and a tree (Newbourg, New York, 2005), co-curated This Story is not ready for its Footnotes (ex ellectrofonico, Rome, 2010), Transit (Madre Museum, Napoli and Pist Istanbul, 2009), Dai Tempo al Tempo (Guarene, Torino, 2008), the night program: nightcomers for the 10th Istanbul Biennial (Istanbul, 2007). She has contributed to art magazines Might be Good, Speech, Insight, Art in America, domus and UOVO. Alongside her curatorial practice, she has been giving private contemporary visual art classes since 2010. 

  Edition 2008
• Pieternel Vermoortel
  Pieternel Vermoortel (Belgium, 1981) is a curator, writer, and editor based in Austria. She is Senior Curator at steirischer herbst, Graz, an international art festival where she co-curated the last three editions (since 2022). As artistic director of Netwerk Aalst (2016-2022), Belgium, she focused on decentering curatorial practices and stretching the possibilities of how cultural production can be made public, experienced, discussed, or written about. At FormContent, London, which she co-founded in 2006, she worked, among others, on the nomadic project It’s Moving from I to It (2012-2016), taking the pulse of conversations on art writing, authorship, and subject-object relations. In recent years she has curated and commissioned projects with, among others, Pablo Bronstein, Jeremiah Day, Ieva Epnere, Lucile Desamory, Dora Garcia, Jos de Gruyter & Harald Thys, Laure Prouvost, Imogen Stidworthy, and Meg Stuart. She has published extensively and curated exhibitions in London, Cairo, Singapore, and elsewhere. She has held permanent teaching positions at Goldsmiths College London and Curatorial Studies KASK Ghent.

  
  
  

  Edition 2009
• Emeline Vincent
  Emeline Vincent has been Head of Exhibitions, Residencies and Public Programmes at Frac MÉCA, Bordeaux, since 2020. From 2013 to 2018, she was head of YGREC, the exhibition centre of the École Nationale Supérieure d’Arts de Paris-Cergy. Prior to this, she was Curator-in-Residence at the Fondazione Sandretto Re Rebaudengo in Turin and Visual Arts Coordinator at the French Institute in London (2007–2012). She holds an MA in History of Art and Contemporary Theory from Birkbeck, University of London. For over fifteen years, she has worked closely with artists while developing research on the intersections between sound and visual media in contemporary artistic practices. Her recent curatorial projects include Primavera, Primavera (November 2024 – May 2025, Frac MÉCA); Arpenter, Photographier la Nouvelle-Aquitaine (2024, Frac MÉCA); The Hidden, a solo exhibition by Salvatore Arancio (2014, YGREC, ENSAPC, Paris); and The 338 Hour Cineclub (2013, Fondazione Sandretto Re Rebaudengo, Turin). Selected publications: Noémie Goudal, Anatomie d’une montagne, Arpenter, photographier la Nouvelle-Aquitaine, Delpire & co, Paris, 2024 ; Julien Discrit and Thomas Dupouy, Music in Dreams (30th Anniversary of the FRACs special issue), Zéro Deux, no. 68, Winter 2013–14; Haroon Mirza: Lo-fi Immersions, Volume!, no. 5, October 2012; Interview with Francesco Fonassi, Volume!, no. 7, December 2013.

  Edition 2013
• Hannah Zafiropoulos
  Hannah Zafiropoulos (Greece, 1992) is a curator, researcher and writer living and working in London and Stockholm. Her practice departs from the possibilities of the emergent field of ‘the curatorial’ to inspire new methodologies and modes of curatorial research, with a particular focus on performativity and participation. Using live action role play as a starting point, her research develops a methodology of ‘procedural authorship’ through which a curator may open up spaces of renewed democratic participation in which diverse voices can participate in the process of meaning and the production of new knowledges. She has worked as Assistant Curator at Calvert 22 Foundation, London and has previously curated projects at Gasworks, London and Tensta konsthall, Sweden, where she will hold the position of Guest Curator for 2019, developing a research programme around the history and methods of the Fogelstad Women’s Citizenship School. From 2013-16, she was Director of Exhibitions at Howard Griffin Gallery, London. She regularly writes for publications including Art Review, The Calvert Journal, Apollo and Koreografisk Journal and has recently co-edited the forthcoming publication Red Love: Reading Alexandra Kollontai (Sternberg Press, 2018). She holds a BA in History of Art from the Courtauld Institute of Art and an MA in Curating Contemporary Art from the Royal College of Art, and has recently participated in the curatorial research programme CuratorLab at Konstfack University of Arts, Stockholm.

  Edition 2019