Biquini Wax (BW), (Mexico Stad) is een multipolair kunstcollectief en poreus cultureel centrum. Sinds de oprichting (2008) is het collectief toegewijd om een onderling afhankelijke kunstruimte te zijn, collectief beheerd door en voor de culturele gemeenschap die geïnteresseerd is in het snijvlak van hedendaagse kunst en kritisch denken. Het is zowel een gemeenschappelijke woon/werk/hangplek als een zelfgeorganiseerd studiecentrum en experimentele (para)locatie voor het maken van tentoonstellingen. 

De deelnemende leden in Amsterdam zijn: Denisse Vega de Santiago, Gerardo Contreras, Mili Herrera

dash (-) is een ecosysteem dat in 2023 begon in Isfahan, Iran om te experimenteren met een zelfvoorzienende economie die gebruik maakt van gemeenschapsmiddelen. Elk lid van dash is betrokken bij andere collectieven binnen de Isfahan-gemeenschap. Door deze collectieven met elkaar te verbinden en te experimenteren, stelt dash zich een economie voor die kunst en leven integreert door inspiratie te halen uit lokale verhalen en actief deel te nemen aan de lokale gemeenschap. In dit proces zijn onderwijs en collectieve zorg de belangrijkste activiteiten van dash.

Level Five is een coöperatieve gemeenschap van studioruimtes voor en door kunstenaars. We organiseren en verzorgen onze ruimtes en de mensen die er gebruik van maken op collectieve wijze. Op deze manier creëren we een ondersteunende omgeving voor elk van onze artistieke praktijken en initiatieven.

Door samen te werken heroverweegt Level Five de organisatorische en economische structuren van de kunsten, herdefiniëren we wat het betekent om kunstenaar te zijn en oefenen we potentiële, eerlijke praktijken die wortel zouden kunnen schieten in de lokaliteit waar we wonen en werken. Op die manier ontwikkelt onze gemeenschap een begrip van waar we voor staan en hoe we onszelf zien, wat ons voorbereidt op solidariteit en coalities met anderen en in andere situaties, maar met een vergelijkbare strijd. Op deze manier is het collectief organiseren als kunstenaars het herpolitiseren van het kunstenaarschap. Level Five kan gezien worden als een zoektocht naar een alternatief; een prefiguratieve praktijk en geen utopie — een continu proces van bijstellen en door moeilijkheden heen werken om tot een nieuwe wereld te komen in het omhulsel van de oude.

Level Five, opgericht door kunstenaars in 2019, beheert momenteel 3 ateliergebouwen verspreid over 3 Brusselse gemeenten, die kunstenaarsateliers bieden aan meer dan 100 leden. Alle leden van Level Five kunnen deelnemen aan het Lumbung Practice programma. Sommigen nemen op regelmatige basis deel, anderen meer sporadisch. Dit wordt mogelijk gemaakt door de steun van de Brakke Grond. Momenteel is Rori van Level Five voor een jaar in Amsterdam om het Lumbung-traject te coördineren en eraan deel te nemen. In het tweede jaar is het de bedoeling om onze bevindingen en ontwikkelde tools in Brussel in te zetten bij Level Five.

Eugene Hannah Park (1992, Zuid-Korea) verkent de leermogelijkheden van het collectieve bewustzijn. Haar praktijk doorkruist verschillende geschiedenissen en geografische plekken, waarbij ze schisma’s en erupties creëert in de homogene hegemonie. Ze cureert en produceert tools en platforms als ingrediënt om vragen te delen, en werelden aan elkaar te vertalen; en ze is geïnteresseerd in de samenwerking met verschillende beoefenaars in het culturele veld, om een drager van een meervoudige toekomst tot stand te brengen. Tijdens haar jaar bij de Appel verwacht Eugene een verbinding tussen de verschillende curatoriële talen van haar groepsgenoten mede tot stand te brengen, en ze hoopt dat dit tot constructieve nieuwe constellaties zal leiden.

Recentelijk cureerde zij Arecibo (2021) in Seoul, waarbij ze de radicale verbeelding bevraagt die voortkomt uit het onderzoek naar speculatieve fictie en science fiction, die de realiteit opnieuw vormen. Eugene is de ontvanger van de Doosan Curatorial Workshop (2021) en ARKO Creative Academy Art Council of Korea (2020). Ze werkte bij Seoul Museum of Art en ARKO Art Center als tentoonstellingscoördinator. Eugene  is deel van verschillende kunst-collectieven, waaronder Against the Dragon Light (ADL), een onderzoeksproject dat zoekt naar sociaal geëngageerde praktijken in de Four Asian Dragons (Zuid-Korea, Singapore, Taiwan, and Hong Kong), Care for Collective Curatorial (CCC), een experimenteel leerplatform dat ideeën rond zorg, collectiviteit en curatorschap verkent, en Asian Feminist Studio for Art and Research (AFSAR). 

Eugene’s deelname aan het Curatorial Programme wordt ondersteund door Arts Council Korea.

Billy Fowo (1996, Kameroen) is curator en schrijver en woonachtig in Berlijn. Hij werkt bij SAVVY Contemporary – The Laboratory of Form-Ideas, Duitsland. 

Geïnspireerd door het idee van het Laboratorium, is voor Billy Fowo het opnieuw nadenken over en het verbreden van de tentoonstelling als format een essentieel deel van zijn onderzoek en curatoriële invalshoek. Hij is geïnteresseerd in een breed scala van disciplines, waaronder geluid, linguïstiek en literatuur. Billy Fowo onderzoekt via zijn praktijk wat we beschouwen als kennis, en in welke domeinen kennis gevonden kan worden. Tijdens zijn jaar bij de Appel hoopt hij verbindingen aan te gaan, en te leren van de praktijk van de andere deelnemers. Ook is hij benieuwd naar de mogelijkheden van Amsterdam als intersectioneel (kruis)punt.  

Recentelijk co-cureerde hij projecten waaronder Unraveling the (Under) Development Complex, an Ode to Walter Rodney’s “How Europe Underdeveloped Africa”, 50 years On (1972-2022), SAVVY Contemporary, Berlin (2022), Wata Go Lef Stone, On the Perpetuity of Accara Across the Oceans, mogelijk gemaakt bij A Parábola Do Progresso, Sesc Pompeia, São Paulo (2022), ENIGMA #59: ROMAN – a retrospection on / by Paris-based artist Bili Bidjocka, SAVVY Contemporary, Berlin (2021). Billy Fowo is een van de coördinatoren van SAVVY Records – een van de recentelijk opgerichte SAVVY Pillars.

Jean-Michel Mabruki Mussa (1999, Democratische Republiek Congo) is een curator en onderzoeker woonachtig in Amsterdam. Zijn interesse gaat momenteel uit naar de verschillende genealogieën van menselijke verplaatsingen op globaal niveau, en de variërende contexten waarin deze verschillende migratie-routes zich hebben gevormd.  Hij onderzoekt de potentie van de tentoonstelling als raamwerk, en het discours rond hedendaagse kunst, om infrastructurele en institutionele veranderingen te bewerkstelligen. Ten slotte is Jean-Michel verheugd door de mogelijkheden van het leren van gelijkgestemden, en de samenvoeging van verschillende lokaliteiten die fundamenteel zijn voor de institutionele identiteit van de Appel.

Marina Christodoulidou (Cyprus, 1991) is onderzoeker en curator en woonachtig in Nicosia. Marina werkt vanuit kritische, kunstenaar georiënteerde infrastructuren en zichzelf organiserende initiatieven, waarbij ze verschillende formats van curatorschap doorkruist.  Haar projecten nemen vaak de vorm aan van discursieve tentoonstellingen, geschreven stukken, sociaal geëngageerde praktijken, en projecten waarin architecturale omgeving een rol speelt. Marina’s de-koloniale lezing van de geschiedenis van Cyprus, en de complexiteit van de afscheiding van het eiland, vormen het vertrekpunt van haar onderzoek en aanpak. Met haar deelname aan het Curatorial Programme hoopt ze samen met haar groepsgenoten de werkmethoden te onderzoeken die het collectieve curatorschap bediscussiëren en totstandbrengen.

Marina heeft eerder gewerkt voor het Cypriotische paviljoen op de Biënnale van Venetië (2015-2019) en ze co-cureerde het Anachoresis project, waarmee Cyprus werd gerepresenteerd op de Architectuur Biënnale (2021). Anachoresis beschouwt de tafel als object waarmee een ruimtelijk protocol voor sociabiliteit wordt geprojecteerd. Een aantal van haar andere projecten zijn hypersurfacing (2019) bij NiMAC in Nicosia, een tentoonstelling over de synergieën van de hedendaagse kunstpraktijk, zowel op Cyprus als  internationaal. The Broken Pitcher (sinds 2020) is een doorgaand samenwerkingsproject waarin een verhaal wordt nagespeeld over de verkoop van het huis van een Cypriotische familie, in de nasleep van de financiële crisis. In de achtergrond speelt de koloniale geschiedenis van schuld, en er wordt gezocht naar manieren om met deze geschiedenis te interacteren en om te gaan. TBP is getoond op pleinen op Cyprus; bij Thkio Ppalies; Beirut Art Center; en GfZK, Leipzig.

Meghana Karnik (1989, Verenigde Staten), werkt als curator, kunst administrateur en schrijver, en onderzoekt de paradoxen tussen kunst en sociale verandering, tussen geloof en technologie, geleefde ervaring en institutionele processen. Voor Meghana wordt curatorschap gevormd door relaties tot mensen, tot verschillende infrastructuren   en bronnen. Haar huidige onderzoeksproject is getiteld “How do we relate in a culture without fact, but only of wordplay?” bij Process-As-Practice in The Luminary (St. Louis). Bij de Appel richt ze zich op het leren met haar groepsgenoten, op het opbouwen van ondersteunende structuren met en voor collega’s, en op autonomie bij het proces van het publiek maken van kunst.  

Meghana’s recentelijke projecten zijn onder meer  Tamar Ettun: How To Trap A Demon (2022), over het onderzoek van de kunstenaar naar somatische empathie, talisman-achtige objecten, en astrologie als vorm van storytelling; en  TITLE TBD (2020), een tentoonstelling die falen onderzoekt als vruchtbare grond voor het opnieuw verbeelden van artistieke gemeenschappen,  waarin het belang van (collectieve) ondersteuning van gelijkgestemden wordt onderstreept, evenals een economie gericht op solidariteit. 

In 2021-2022 was Meghana manager Grants & Artist Initiatives bij Art Matters Foundation (New York) waar zij  Artist2Artist ondersteunde, een programma waarbij filantropische macht opnieuw wordt gedistribueerd naar kunstenaars.  In 2019-2020 was ze Associate Curator bij FRONT International 2022 (Cleveland). Tussen 2015-2019 was ze eerst Programmamanager, en later Associate Director van The Elizabeth Foundation for the Arts Project Space (New York), een curatoriële incubator voor tentoonstellingen en SHIFT: A Residency for Arts Workers.

Meghana’s deelname aan het Curatorial Programme wordt mede mogelijk gemaakt door een NAF Cultural Grant van de Nederland-Amerika Foundation.

Melissa Appleton (1983) is producent, curator en ruimtelijk ontwerper. Ze groeide op in de buurt van Newport, waar de Usk en Severn Estuary rivieren elkaar ontmoeten aan de rand van het industriële Zuid-Wales. Melissa werkt vanuit de Welsh Borders en is momenteel creatief directeur van Peak Cymru, een kunstorganisatie dat samenwerkt met kunstenaars en jongeren om 'het zachte werk van de toekomst' in dialoog met de complexiteit, talen en koloniale geschiedenissen van de grensregio te onderzoeken.

Melissa's curatoriële-, ruimtelijke- en onderzoekspraktijk is gebaseerd op analyse, relaties, het doordenken van systemen van ontwerp, plaats en functie, evenals warmte, collectiviteit en bruikbaarheid. Melissa wordt gemotiveerd door het potentieel van hyperlokale kennis en is enthousiast om te leren van de doorleefde ervaringen en praktijken van collega's bij de Appel.

Melissa heeft een achtergrond in architectuur en heeft voorafgaand aan haar werk met Peak Cymru programma's ontwikkeld waarbij ruimtelijke interventies fungeren als mechanismen om toegang te krijgen tot alternatieve geschiedenissen, dromen en talen. Deze omvatten Writtle Calling/2EmmaToc(2012), een radiostation in een veld in Essex, Tonight the World (2019), een samenwerking met Daria Martin voor Barbican Curve, Londen & CJM, San Francisco en Quite Suddenly Your Smile is an Architecture (2017), een rondreizende tentoonstelling van de uitgeefprojecten van dichter Jeff Nuttall.

Melissa's deelname aan het Curatorial Programme wordt mogelijk gemaakt door financiële steun van Art Fund (Jonathan Ruffer Curatorial Grant) en Arts Council Wales International Opportunities Fund. Met dank aan Peak Cymru collega's voor hun steun en Owen Griffiths voor de woorden.

Ka-Tjun Hau (1990), of 家駿, wat ‘weldenkend gezin’ in het Chinees betekent, is geboren en getogen in Nederland. Hij is geïnteresseerd in de dynamische identiteiten die binnen een culturele diaspora ontstaan, en onderzoekt de 'verborgen draden' die ons verbinden met plaatsen, mensen en verhalen. Ka-Tjun zet zich in voor meer Aziatische vertegenwoordiging en zichtbaarheid in media, film en de kunsten en heeft gewerkt voor Pan Asian Collective, een organisatie en platform voor en door creatieven met Aziatische roots.

Ka-Tjun heeft een achtergrond in mode en voltooide een BA en MA in mediawetenschappen aan de Universiteit van Amsterdam. Na het afronden van een traineeship in 2017 bij Foam in Amsterdam, ging hij aan de slag als cultuurverkenner voor het Amsterdams Fonds voor de Kunst waar hij kunstenaars ondersteunde bij het realiseren van projecten en het vastleggen van relaties met lokale instellingen en publiek in Amsterdam. Vanuit deze ervaring gelooft Ka-Tjun in de waarde van artistieke praktijken binnen hun oorspronkelijke context, die misschien klein en lokaal beginnen, maar uiteindelijk door verbondenheid op grotere schaal kunnen worden ondersteund.

Sinds 2018 is Ka-Tjun actief als fotoredacteur voor Hard//hoofd, een Nederlands kunst- en literatuurmagazine waar hij samenwerkt met fotografietalenten en pas afgestudeerden. De afgelopen jaren was hij programmacoördinator bij het culturele platform We Are Public, waar hij samenwerkte met kunstenaars en cultuurbeoefenaars om nieuwe publieke programmaformats te ontwikkelen. Ka-Tjun kijkt uit naar zijn deelname en naar het betrekken van het gebied Nieuw-West vanuit een ander perspectief.

Monika Georgieva (1993, Bulgarije) is een actief deelnemer in de culturele scene van Wenen, waar ze momenteel woont en werkt. Met haar achtergrond in stedenbouw en architectuur (BA, MA), ziet Monika onze ruimtelijke omgeving als een actief, levend organisme in een staat van voortdurende metamorfose. Sinds 2020 runt Monika samen met kunstenaar Aaron Amar Bhamra in Wenen de onafhankelijke tentoonstellingsruimte Laurenz. Het heroverwegen van onze opvattingen over wat tentoonstellingen kunnen zijn, en de toekomstige vormen die het zou kunnen aannemen is de kern van Laurenz' benadering.

Het volgen van de nomadische geschiedenis van de Appel, en hoe de organisatie verbinding maakt met haar veranderlijke omgevingen, interesseert Monika en brengt haar verder in haar onderzoek. Heeft de tentoonstellingsruimte van de toekomst nog een vaste locatie nodig, of zou het een nomadisch bestaan kunnen aannemen, regelmatig verhuizen en haar habitat veranderen? Hoe zou dit er dan uit zien? Hoe zou het zich gedragen? En wat zouden haar sociale verantwoordelijkheden zijn?

Voordat ze naar Amsterdam kwam, assisteerde Monika het curatorenteam van de Vereniging van Beeldende Kunstenaars Wiener Secession en werkte ze aan het Instituut voor Kunst en Design van de Technische Universiteit van Wenen. Eerder maakte ze ook deel uit van de architectuur- en stedenbouwstudio StudioVlayStreeruwitz, waar ze werkte aan het ruimtelijk ontwerp van het Oostenrijkse paviljoen op de 58e Biënnale van Venetië in 2019.

Monika Georgieva's deelname aan het Curatorial Programme van de Appel wordt ondersteund door het Oostenrijkse federale ministerie voor Kunst, Cultuur, Openbare Dienst en Sport (Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport BMKÖS).

Chala Itai Westerman (1993) groeide op in Groningen, Nederland en bracht haar eerste zomers door in Yonago, Tottori, Japan. In de zomer van 2013 verhuisde ze naar Amsterdam om Informatiekunde en Kunstgeschiedenis te studeren aan de Universiteit van Amsterdam. Na deze academische periode voelde ze haar relatie met Japan verwateren en besloot ze een tijd in Japan te leven. In de herfst van 2019 begon zij aan haar MA Contemporary Art History aan de Vrije Universiteit Amsterdam, maar voelde zich niet thuis in de academische taal. Ze vond nieuwe wegen voor zichzelf om in contact te staan met kunst door te werken als studio assistent van kunstenaar Jennifer Tee en als medewerker van het Mondriaanfonds. Het heeft haar een sterk begrip gegeven van de gelaagdheid van de kunstpraktijk. Kunst gaat niet alleen om het eindproduct: het proces is net zo belangrijk.

Haar Japans-Nederlandse culturele achtergrond heeft haar (onderzoeks)interesse voor sociaal-culturele en identiteitsvraagstukken gevoed. Tijdens haar onderzoek- en productiestage bij de Appel onderzocht zij in hoeverre de internationale reputatie van de Appel een brug slaat met de diverse Nederlandstalige cultuur. Haar MA-scriptie ging over het begrijpen van online identiteit als iets veranderlijks dat wordt geconstrueerd door het vertellen van een verhaal en nodigt uit om het concept van een authentiek en inclusief verhaal te herzien. Als een (online) identiteit wordt geconstrueerd door het vertellen van verhalen, dan kunnen we ons afvragen: schrijven we nog steeds onze eigen verhalen?

(1990) is een onafhankelijke curator en kunstcriticus, gevestigd in Terrassa, Catalonië. Àngels beschrijft haar curatoriale praktijk als de geheime politiek van materialiteit - of het geloof dat materialen inherente betekenissen bevatten en betrekking hebben op mondiale ketens van winning, handel en industrie. Haar recente tentoonstellingen zijn gebaseerd op kunsthistorisch onderzoek naar Arte Povera, neo-materialismen en de wortels van de installatiekunst om parallellen te creëren tussen de materialen van kunstenaars en de wereldwijde industrie. Àngels gaf leven aan residenties en nieuwe producties in vulkaankraters en zwavelputten, samen met kunstenaars als Regina de Miguel en Paul Rosero Contreras. Gebaseerd op de observatie dat biotechnologie een wisselwerking heeft met onze wereld en ons eigen lichaam – op variabele en soms gewelddadige manieren – ontwikkelde ze speculatieve sculpturale toekomstbeelden met kunstenaars Julia Varela en Andrej Škufca. Met Débora Delmar heeft Àngels in verschillende projecten de materie in haar consumentenvorm als marktgoed aangepakt en de economische en culturele gevolgen ervan behandeld. Recente tentoonstellingen vonden plaats in de Tallinn Art Hall, MGLC - International Centre for Graphic Arts in Ljubljana, Galerija Miroslav Kraljevic in Zagreb, het Museum voor Hedendaagse Kunst van Chili, Museu de Angra do Heroísmo in de vulkanische archipel van de Azoren, en het Letse Centrum voor Hedendaagse Kunst. Ze levert een actieve bijdrage als schrijver en kunstcriticus voor onder meer Artforum, Collecteurs Magazine en Arts of the Working Class. Àngels is een fervent wandelaar en houdt ervan zich te bewegen op verloren paden en om nieuwe landschappen te ontdekken. Wandelen wordt daarbij een meditatieve praktijk waar elke verandering in omgeving de gevoeligheid verandert, resulterend in het ontstaan van geheel eigen denkwijzen. 

Àngels Miralda's deelname aan het Curatorial Programme van de Appel wordt ondersteund door de Generalitat de Catalunya Iniciativa Cultural.

(1994) woont en werkt in Beiroet, Libanon. Hij is de assistent van de directeur van Ashkal Alwan, een non-profit organisatie die zich bezighoudt met artistieke productie, onderzoek en studie. Sinds 2017 neemt hij deel aan de curatoriale ontwikkeling van discursieve programma's, publicaties en tentoonstellingen van Ashkal Alwan. Zijn huidige onderzoek houdt zich bezig met de onderlinge afhankelijkheid van kritische infrastructuren, ideologische formaties en culturele productie binnen de Arabische regio. Zijn geschriften zijn verschenen in Afterall, Bidoun, The Funambulist, n+1, Jadaliyya en ArteEast Quarterly, en werden geschreven in opdracht van de Sharjah Art Foundation, Biennale de l'Image en Mouvement in Genève, en MMAG Foundation in Amman. Edwin heeft gewerkt aan verschillende redactionele projecten, waaronder The Derivative van het Beirut Art Center en de inaugurele Sharjah Architectuur Triënnale’s Rights of Future Generations. Daarbovenop zit hij in de redactie van Journal Safar, Beiroet's tweejaarlijkse onafhankelijke visuele en ontwerpcultuurmagazine, en vertaalt hij regelmatig teksten die in het Frans zijn geschreven en gebaseerd zijn op het dekoloniaal denken. Wound Contra Empire, zijn doorlopende archiefproject met kunstenaar Bassem Saad - die de geopolitiek van digitaal beeldmaken onderzoekt – werd gepresenteerd aan de Harvard University VES in Cambridge, de AA School of Architecture in Londen, STRUKTURA in Podium in Oslo en Asia Contemporary Art Week: Fieldmeeting at Alserkal Avenue in Dubai. Edwin kijkt ernaar uit om zich aan te sluiten bij ruige, Amsterdamse leesgroepen, te leren van de lokale strijd tegen politiegeweld en door Amsterdam te fietsen terwijl hij naar Celine Dion's Greatest Hits luistert.

De deelname van Edwin Nasr aan het Curatorial Programme van de Appel wordt ondersteund door Ashkal Alwan en Stichting DOEN.

(1993) moet je niet verwarren met Miss Hong Kong 2018. In Hong Kong was ze medecurator van publieke programma's bij Tai Kwun Contemporary, directeur/ curator van Videotage en onderzoeker bij het SEACHINA Institute, waar ze zich richtte op sociaal geëngageerde kunstpraktijken in het hedendaagse China. Toegewijd aan het onderhouden van netwerken van solidariteit en het bouwen van media-infrastructuur, was ze medeoprichter van Atelier Céladon in Montreal, waar ze sprak met leden van diaspora om op sociale wijze een toekomst te bouwen die al mogelijk is. Hera heeft tentoonstellingen en openbare programma's georganiseerd in Para Site en Spring Workshop in Hong Kong, UCCA Beijing, SAVVY Contemporary in Berlijn, en ruimtes als articule, SBC Gallery of Contemporary Art, en Studio XX in Montreal. In 2019 voltooide ze een residentie bij Artista x Artista in Havana met kunstenaar Xiaoshi Vivian Vivian Qin als de eerste bewoners van de All The Way South-uitwisseling van het Guangzhou Times Museum, en was ze een collega van de RAW Académie Session 7 in de RAW Material Company in Dakar. Ze was hoofdredacteur van Theoretically in the Gutter: A Manga Essay Collection en redacteur van Ruthless Lantern. Binnenkort zal haar schrijfwerk in Best! Letters from Asian Americans, en Ecologies of Darkness—Building Grounds on Shifting Sandsverschijnen. Ze is uitgenodigd om te spreken op de Asia Contemporary Art Week: Fieldmeeting at the Asia Society in New York. In 2017 was ze medeoprichter van Miss Ruthless International, een netwerk voor hedendaagse kunst dat de infrastructuur van diasporische schoonheidswedstrijden nabootst. Hera luistert momenteel naar Okay Kaya's vertolking van Believe, met als het terugkerende thema: “Do you believe in life after love?”

(1982) is een kunstenaar en cultureel agent gevestigd in Santo Domingo, Dominicaanse Republiek. Ze engageert zich met natuur, architectuur en geschiedenis door middel van een artistieke en curatoriale praktijk. Ze is medeoprichter en codirecteur van het door kunstenaars gerunde hybride platform Sindicato. Sindicato combineert de curatoriale en commerciële mogelijkheden van een kunstruimte door het naar voor schuiven van alternatieve vormen van culturele productie en het maken van tentoonstellingen. Door het ontbreken van een permanente fysieke ruimte biedt het project mogelijkheden voor artistieke experimenten en genereert het verbindingen met een nieuw publiek, terwijl het de samenwerking tussen instellingen, groepen en individuen in zijn directe context mobiliseert. Ze is artistiek directeur geweest van verschillende cross-disciplinaire projecten zoals Tropical Ghosts, een onderzoek naar de evolutie van het centrale gebied van Santo Domingo en de impact ervan op het huidige sociale leven van de stad. Dit project werd gecreëerd in 2014 naar aanleiding van de open call World Wide Storefront door de Storefront for Art and Architecture, New York. Het programma bestaat uit plaatsspecifieke stedelijke interventies, theoretische evenementen en bijeenkomsten, een online archief en schrijfopdrachten. Círculos is de naam van haar meest recente project: een serie gesprekken tussen specialisten uit diverse vakgebieden en de bredere gemeenschap om de geschiedenis te herlezen, het heden te bespreken en zich gezamenlijk een toekomstbeeld te vormen. Alles is een manier van dansen.

(1993) is een curator, onderzoeker en cultuurbeoefenaar uit Jekaterinburg, Rusland. Ze heeft een BA in Kunstgeschiedenis en een MA in Politieke Filosofie, beide van de Ural Federal University. Masha's werk is gericht op het creëren en in stand houden van een omgeving voor artistieke en onderzoeksinitiatieven in de Oeralregio. Ze was curator en coördinator bij de Oeral-afdeling van het Nationaal Centrum voor Hedendaagse Kunst in Rusland en implementeerde hier publieke programma's in het Jeltsin Сenter Art Gallery. Sinds 2015 is ze betrokken bij de productie van de Ural Industrial Biennial of Contemporary Art. Voor de vierde en vijfde editie van de biënnale werkte ze als algemeen coördinator van het Main Project en als assistent-curator voor Image as Witness / Capitalist Choreographies / the Persistent Word (door João Ribas) en For a Multitude of Futures: Overcome the Limits of Immortality (door Xiaoyu Weng). In 2017 startte Masha een langdurig interdisciplinair project met de naam MZhK-1980, dat het “Youth Residential Complex” onderzoekt - een sociaal experiment dat in de jaren tachtig van de vorige eeuw in Jekaterinburg werd uitgevoerd. Het project heeft als doel een historiografie van het experiment op te bouwen en te zien hoe die geschiedenis het heden van het Complex en zijn bewoners beïnvloedt. Het ontwikkelt zich rond strategieën voor zelforganisatie tussen gemeenschappen en stelt de mogelijkheid van een collectief bestaan binnen de huidige institutionele structuren ter discussie. MZhK-1980 omvat zowel diepgaand onderzoek, tentoonstellingen, performatieve en publieke programma's, als plaatsspecifieke interventies in de publieke ruimte van het Complex. Masha kijkt ernaar uit om de regio Amsterdam Nieuw-West - waar ze reeds fascinerende echo’s van de architectuur in Jekaterinburg ontdekte - verder te verkennen.

De deelname van Masha Domracheva aan het Curatorial Programme van de Appel wordt ondersteund door de Nederlandse Ambassade in Moskou en de Stichting AVC Charity in Moskou.

(Philippines, 1988) is a freelance cultural practitioner from Manila, Philippines. She has worked as a writer, researcher, project manager and curator across the field of contemporary visual arts and alongside Philippine and regional-based platforms and collaborators.

In her involvement with the largely-independent infrastructure of artistic communities such as Back to Square Juan, she developed strategies for cultural production, community engagement and collaborative curatorial work. Her involvement in attempts to renegotiate the position of VIVA ExCon, the longest running artist-led biennale in the wider Philippines art world, led her to the position of managing curator for its 2018 edition. Her work revisits Philippine cultural histories by enacting new approaches to archiving and exhibition-making in projects such as: POSTER/ITY: 50 years of art and culture at the Cultural Center of the Philippines and 100 years of Cesar Legaspi, a year-long multi-site centenary of National Artist Cesar Legaspi. She has also assisted in providing discursive platforms across the region with programs such as Mutable Truths for Ateneo Art Gallery’s 10-year anniversary exhibition with La Trobe University in Australia, and the Southeast Asian Residencies Meeting 2018, an international conference held at Roxas City, Capiz.

Iris Ferrer’s participation in De Appel’s Curatorial Programme is supported by the Asia-Europe Foundation-Prince Claus Fund for Women, the Manila visual arts community and other private individuals.

(Puerto Rico, 1987) is a Puerto Rican independent curator and writer. Her research departs from meditations on human geography, radical manifestations of identity, and methodologies of collaboration. Most recently, Cruz Rivera served as Project Manager at Volume Gallery and as Associate Curator at The Green Lantern Press based at Sector 2337 in Chicago. During her time at Sector 2337, she assisted on exhibitions such as Lou Mallozzi’s site-specific sound installation, “1:1”, and Angelika Markul’s solo exhibition, “If the hours were already counted.” Cruz Rivera holds an MA in Arts Administration and Policy from the School of the Art Institute of Chicago and a dual BA in Art History and Modern Languages from the University of Puerto Rico. Sharmyn has been a resident at Ox-Bow School of Art and Artists’ Residency (Saugatuck, MI), Summer Forum for Inquiry + Exchange (Kaneohe, HI), Roots and Culture (Chicago, IL), ACRE (Steuben, WI), and was the recipient of the Gaylord & Dorothy Donnelley Foundation Curatorial Fellowship. Recent projects include the group exhibition, Corrosive Like Salt Water, at the Glass Curtain Gallery at Columbia College Chicago, An Image for a Vessel at the Gaylord and Dorothy Donnelley Foundation, La vista: mamihlapinatapai at The Franklin, Hinged Space at Terrain Exhibitions, and Fiction Within at Chicago Artists’ Coalition.

Sharmyn Cruz Rivera’s participation in De Appel’s CP is supported by The Netherland-America Foundation and the Chicago Friends Trust.

(b. 1986, Colombia) is founder, director and curator-in-chief of the non-profit organization Plural Nodo Cultural (Bogotá). Since its inception in 2017, Plural has become a platform that reflects on new ways of thinking and approaching art. In doing so, it has enabled spaces for production, engagement and exchange among artists and the greater public.

Juan has also participated in numerous cultural projects around Colombia as independent curator, lecturer, organizer and artists’ advisor. His most recent curatorial endeavors include exhibitions such as “Third Space” (co-curator, 2019); “Neighboring South” in collaboration with Videobrasil (2018); and “OBRA” (2017), as well as “The 1st National Meeting of Art and Cookery” (2019), the first art festival in Colombia; and “Resistance Cuisine” (2018), a workshop that explores the role of food in communal acts of resistance.

(Greece, 1992) is an independent curator and writer based in Athens. She is the co-founder and curator of Enterprise Projects, a project space functioning independently and periodically since September 2015 in Athens, as well as the Editor of Enterprise Projects Journal, a publishing initiative by Enterprise Projects in the form of an online publication of newly commissioned theoretical and research essays in Greek with English translation. She has worked for public and private institutions in Athens and Paris, most recently (2018-2019) as Exhibitions Archive Coordinator at DESTE Foundation for Contemporary Art.

Beyond Enterprise Projects, Giannoglou has contributed texts for catalogues, artists’ publications, and she has curated exhibitions in Greece and abroad. She holds a BA in Theory and History of Art from the Athens School of Fine Arts and an MA in Cultural Management and Curating from Paris 1 Panthéon – Sorbonne University in Paris. And she has been a resident at Rupert, Lithuania in 2016 and the 8th Gwangju Biennale International Curator Course, South Korea in 2018. For 2018-2019, she is a recipient of the 2nd Stavros NIarchos Foundation’s Artist Fellowship Program (Curating) as well as the Onassis AiR Emergency Fellowship.

Danai Giannoglou’s participation in De Appel’s CP is supported by Onassis AiR, the (Inter)national Artistic Research Residency Program of the Onassis Foundation.

(Turkey, 1990) is a curator, researcher and writer. She became engaged in the field as an exhibition docent at the 13th Istanbul Biennial (2013). Since then, her research interests include the intersections of language, pedagogy, and the futures of collective production and curating. Recently, she curated the group exhibition Meditations on self-togetherness that brought together video works of Özden Demir and Dila Yumurtacı at Bilsart in Istanbul (2019). She assisted in carrying out the program dedicated to managing the archive, research and discussion on useful art cases in Turkey, conducted in collaboration with Asociación de Arte Útil platform at the Office of Useful Art at SALT Galata in Istanbul (2018). Previously, she had co-organized Utilitarian efforts, non-utilitarian works, a group exhibition with works by Salwa Aleryani, Onur Ceritoğlu, Didem Erbaş, Borga Kantürk, Melisa King, Neslihan Koyuncu, Merve Ünsal and Dila Yumurtacı at MARSistanbul (2017). Naz also worked as an artist representative and gallery coordinator in Öktem&Aykut (2014-2016), whilst assisting the production and research procedures of exhibiting artists such as Can Altay, Aslı Narin and Lara Ögel. Having received her BA in Visual Communication Design from Izmir University of Economics (2012), Naz continued her graduate studies with a focus on audience development at SALT in Istanbul and Witte de With Center for Contemporary Art in Rotterdam towards a Cultural Management MA at Istanbul Bilgi University (2016). She is a member of AICA Turkey and her writings have appeared in Art Unlimited, Borusan Contemporary Blog and SALT Online Blog among others. 

“Naz Kocadere’s participation is supported by SAHA – Supporting Contemprary Art from Turkey, within the scope of SAHA Studio”.

(Ireland, 1985) has developed a practice as an independent curator and writer over the past six years. In the summer of 2015 he began a nomadic curatorial platform called ROOM E-1027, which adopted the legacy of Irish architect and designer Eileen Gray and her villa E-1027 as context. Its first iteration was in a small apartment in Paris and its second in Berlin where Butler was invited to programme and run the project space Center. As a writer and critic, Butler has contributed reviews, catalog essays and interviews to a number of international magazines, including Flash Art, L’Officiel Art, AQNB.com, and PaperVisualJournal.com.

(Russia, 1986) is an independent curator and researcher based in Moscow. He holds an MA in Art History from the Russian State University for the Humanities. His practice is concerned with curatorial strategies of decentralization of contemporary art. He has curated multiple exhibitions in independent galleries and artist-run spaces in Russia and abroad. The last project he has been involved in, Survival Kit, dealt with the concept of “subtle art” as a means of delivering socio-political messages in conditions of state censorship and was included in parallel programs of the 15thIstanbul Biennial of Contemporary Art and the 4th Ural Industrial Biennial. 

(1987, Brazil/ Portugal) is the Curator & Resident Liaison of the Van Eyck Academie- Multiform Institute for Fine Art, Design and Reflection, Maastricht, the Netherlands (2020-). He is the founder and curator of the projects and commissioning platforms ‘SITU’ (2015-2018) and ‘1:1’ (2018-ongoing), in São Paulo, Brazil. Has developed a variety of projects with institutions such as: Harvard Graduate School of Design, Cambridge; Storefront for Art and Architecture, New York; São Paulo Architecture Biennial; Pivô Art and Research, São Paulo; De Appel and Stedelijk Museum, Amsterdam, among others. Participated in residencies such as: TATE Intensive, TATE Modern, London; IdeasCity Arles, New Museum with LUMA Foundation, Arles; Curatorial Intensive Accra, ICI, Accra, among others. And received grants from the Hyundai TATE Research Centre: Transnational, London, the Calouste Gulbenkian Foundation, Lisbon, and others. Bruno is an alumnus of De Appel’s Curatorial Programme, Amsterdam (2018/19). Holds a Master’s degree from the Mendrisio Academy of Architecture, Switzerland (2013), and a Bachelor from the Faculty of Architecture of the University of Oporto, Portugal (2009).

(Argentina, 1984) is an art historian and curator based in Buenos Aires. She holds a BA in Art History and Management, and an MA in Latin American Art History. From 2015 to 2018 she was a curator at the Museum of Modern Art of Buenos Aires, where she curated exhibitions such as: Elba Bairon. Untitled(2017), Sergio Avello. Young multi-talented professional (2017),Edgardo Antonio Vigo. Permanent Factory of Creative Chaos: 1954-1997 (2016), and Do it yourself. A Project by Lino Divas(2016). She also edited Vigo’s exhibition catalogue, the first comprehensive publication of his work, and collaborated on the book LaMenesunda by Marta Minujin(2015), which features two essays on the historical relevance of the original work and its reconstruction. Since 2011 she is a member of La Ene, Nuevo Museo Energía de Arte Contemporáneo, an independent art space founded in 2010 in Buenos Aires, which she directed from 2015 until 2018. At La Ene, she curated several exhibitions that include: Glusberg(2017); A war of all against all (2016), by Joaquín Segura; What the wind left behind. Publications by Fernanda Laguna (2015), and Ghost Museum. MAMBA 1956-1960(2013). She has also co-curated several exhibitions of La Ene’s collection in: Seoul (2017), Ciudad de México (2016), Lima (2015), Buenos Aires (2014) and Santa Fe (2014). In 2015 she founded, together with artist Gala Berger, Paraguay Independent Printed Art Fair.

(UK, 1986) is a curator from regional Western Australia. She co-directed the Perth artist-run space Paper Mountain (2013-2015), worked as a curator at Bunbury Regional Art Gallery (2014-2018) and was a co-founder of Compiler: a London-based platform for the production and presentation of new media art and dialogue (2017). Her independent curatorial projects include Noise Museum (2017) and Ratio Club (2017-18). She holds a BA in Fine Art from the University of Western Australia and an MA in Digital Culture from Goldsmiths, University of London.

(1991) is een onafhankelijke curator en woont in Kameroen en Nederland. Ze nam deel aan het curatoren programma van De Appel in 2018-2019. In 2017 werkte Aude als assistent-curator van Cécile Bourne-Farrell voor de SUD2017, een internationale triënnale voor kunst in de publieke ruimte, georganiseerd door doual’art, een centrum voor hedendaagse kunst, voor de stad Douala (Kameroen). Verder is ze lid van het Madrassa Collective.

(1988, Latvia) is an art producer working in favour of new commissions’ projects at Kim? Contemporary Art Centre in Riga, Latvia (2015-2018). In 2013 she graduated in Art History at Art Academy of Latvia, and her exhibition reviews and other writing has been published in art and culture magazines in the Baltics. Most recently, she has been interested in the topics of mental activity and wellbeing investigated across various disciplines, and comfort of mind in the modern civilisation. Her recent projects include the 13th Baltic Triennial: “Give Up The Ghost” curated by Vincent Honore, Merike Estna’s solo show “Disposable Gloves Guide”, Dafna Maimon’s exhibition and performance “Family Business: Power Failure”, Kevin Beasley’s solo show “Rubbings”, Robertas Narkus & Autarkia cabaret “The Guest”, and Ieva Epnere’s “Sea of Living Memories” among others.

(Korea, 1985) is an independent curator, researcher, and writer. Recently, she is curating Zeitgeist series, excavating how the generalization of media changes the social structure and relationships and makes shifts in visual arts based on the generation theory and media theory. The first show Zeitgeist: non-Psychedelic; Blue opened in Amado Art Space, Seoul (2016). She has a bachelor’s degree in philosophy from Chungang University and has studied Art Theory in Korea National University of Arts for a master’s degree. She started her career as an independent curator and co-curated Move and Meet (2012). She worked as an editor and journalist for the Public Art magazine (2013-2015). After making 25 issues, she joined as an assistant curator in Plastic Myths, the inaugural exhibition at Asia Culture Center in Gwangju (2015-2016). She participated in ARKO Creative Academy, the fellowship program organized by Arts Council Korea (2016-2017) and TATE Intensive Program in London (2017). She received the Amado Exhibition Award (2016) and the Critic Festival Award (2016). She writes regularly for contemporary art magazines including Public Art.

(Bahrain, 1991) is a curator based in the Gulf. He was the programming coordinator at Alserkal Avenue (2015-2017), an arts organization in Dubai, which was established to support the region’s contemporary art scene. Since 2015, he has developed and executed annual community programmes, alongside a series of public art commissions for Alserkal Avenue. In this role, he spearheaded new initiatives which included; a series of web-based artist commissions for Folio, an online platform for the growing cultural scene in the Gulf; and 101Talks, a series of public conversations with members of the UAE creative community. Previously, Luay worked at Al Riwaq Art Space in Bahrain, working on the art production of Alwan 338, an annual public arts festival. Luay holds a BSc in Business Management from the University of East Anglia in the UK, and completed the Goldsmiths Curatorial Summer School course at the British School at Rome.

(Poland, 1986) is a curator, art and film journalist and cultural projects coordinator. She is a member of the New Roman gallery collective and was coordinator of the ShowOFF section of Photomonth in Krakow (2011-2013). From 2013 to 2016 she was associated with Arton Foundation – non-profit organization dedicated to the Polish art archives from the 1970’s, for which she curated the “Arton Review” film program and exhibitions. She was recipient of the Polish Ministry of Culture and National Heritage Scholarship (2014). She has contributed to ‘KINO Magazine’ and has been working as exhibition coordinator at Royal Łazienki Museum in Warsaw. Lewandowska has worked on multiple art projects and exhibitions involving interdisciplinary research. She is particularly interested in phenomena in the process of media translation, the modern resonance of conceptual traditions and artists’ collaborations. She graduated in Cultural Studies (Film and Media Studies specialisation) at Jagiellonian University, Kraków and studied History of Art at the University of Warsaw where she currently is a PhD student at the Faculty of “Artes Liberales”.

(Malaysia, 1981) is a curator based between Amsterdam and Kuala Lumpur. She got her start in the field through the intersection between activism and the arts. Jo-Lene is the De Appel Curatorial Research Fellow 2018/19, working towards a publication and symposium on the future of curating. Her research interests include the spectres of Batavia in the Stedelijk Museum Amsterdam and the intersections of performative practices, embodiment, and pedagogy. Recent exhibitions include Brace for Impact at De Appel, SUNSHOWER: Contemporary Art from Southeast Asia from 1980s – Now at Mori Art Museum and National Art Centre, Tokyo, and M_KNG SP_C_: We Are Where We Aren’t in Kuala Lumpur.

(Denmark, 1985) is a Copenhagen based curator, writer and researcher. She holds a BA in Art History from the University of Copenhagen and an MA in Interactive Media: Critical Theory and Practice from Goldsmiths, University of London. Her interests revolve around bodies, both human and non-human, and feminist thinking. She has curated exhibitions in several artist-run spaces in Copenhagen and is co-founder of the nomadic study group ‘Entering Into Relation with an Object.’ As part of the Laboratory for Aesthetics and Ecology, a curatorial platform for planetary becoming, she co-translated and published Donna Haraway’s ‘Playing String Figures with Companion Species: Staying with the Trouble’ into Danish. A rather hopeless romantic, her previous research has engaged with Victorian prostitution in London and with desire. She is currently working with the Centre for Precarious Lives researching modes of precarity in late capitalism in the hope that things might get better.

(Poland, 1992) is a curator and writer based in Kraków and a PhD candidate at the Department of Literary Anthropology and Cultural Studies at the Jagiellonian University. He is recipient of an individual grant for arts and media theory research, funded by the Ministry of Science and Higher Education in Poland (Diamentowy Grant, 2015-18). As a freelance curator he has collaborated with artists such as Jasmina Metwaly and Philip Rizk, Norman Leto, Mateusz Kula and Agata Biskup. He is co-founder of the Kraków-based art space Asnyka 7 and co-curator of the long-term interdisciplinary project Elementarz dla mieszkańców miast (The Handbook for City Dwellers) with Leona Jacewska. He writes regularly on subjects related to contemporary arts for Magazyn SZUM and has contributed to a few art-related monographs including Kinship in Solitude – Perspectives on Notions of Solidarity, eds. Anna Jehle and Paul Buckermann, Hamburg (adocs) 2017.

(Indonesië, 1986) werkt als curator en schrijver in Yogyakarta. In 2011 richtte ze Lir Space op, een onafhankelijk instituut dat jonge kunstenaars ondersteunt. In 2013 werd Asriningtyas geselecteerd voor het Young Curator Forum van Cemeti Art House in Yogyakarta. In hetzelfde jaar verbleef ze in het kader van een onderzoeksproject bij 98B COLLABoratory in Manila. Daarnaast nam ze deel aan de Young Curators Workshop van de Japan Foundation (2014) en aan de 4A Curators’ Intensive in 4A Centre for Contemporary Asian Art in Sydney. Asriningtyas’ interesses gaan uit naar conceptuele projecten, het zichtbaar maken van de maakprocessen van kunst, het samenbrengen van verschillende academische disciplines, de spanning tussen het publieke en private domein, (her)gebruik van verlaten plekken en kunst met een speciale focus op spatial practice. Ze publiceerde in verschillende tijdschriften en catalogi.

(Italië, 1990) is onafhankelijk curator in Turijn, waar ze ook de non-profit ruimte CLOG oprichtte, en medeoprichter was van de culturele associatie CPCT. Op dit moment werkt ze als artistiek adviseur voor Artissima. Recent was ze assistent-curator voor de tentoonstellingen Tuttovero van Francesco Bonami en Shit and Die van Maurizio Cattelan, Myriam Ben Salah en Marta Papini. Visconti studeerde beeldende kunst aan de IUAV Universiteit in Venetië, nam deel aan het curatorenprogramma CAMPO12 in Turijn en voltooide een stage bij Artists Space, New York. Ze werkte verder voor TOILETPAPER Magazine en Le Dictateur in Milaan. Visconti studeert filosofie, schrijft voor kunstbladen en runt de online platforms Curatorshit, shitndie en Kutchup Drool. Haar laatste tentoonstelling Dear Betty: Run Fast. Bite Hard! bij GAMeC in Bergamo won de Premio Bonaldi in 2015-16.

(Singapore, 1989) is assistent-curator voor het Residencies Programme van het NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) van de Nanyang Technological University (NTU). Het Residencies Programme is gestart in januari 2014 en brengt kunstenaars, curatoren en schrijvers samen voor verschillende onderzoekmatige projecten. De nadruk ligt op kunstenaars uit Singapore en Zuidoost-Azië. In 2014 werkte Findlay als assistent bij No Country: Contemporary Art for South and Southeast Asia, de MAP Exhibition van UBS Guggenheim Global Art Initiative, en in 2015 co-cureerde ze het Artist Resource Platform Bring it to Life (beiden aan het NTU CCA Singapore). Findlay nam in 2015 deel aan de Workshop for Emerging Professionals van Para Site in Hong Kong, en behaalde in 2007 haar BA in beeldende kunst en kunstgeschiedenis aan Goldsmiths College in Londen.

(Zwitserland/Colombia, 1991) werkt als onafhankelijk curator in Zürich. Hij behaalde zijn diploma in kunstgeschiedenis, theorie en geschiedenis van de fotografie en moderne Duitse literatuur aan de universiteit van Zürich. Hij schreef teksten voor diverse publicaties, en assisteerde de kunstenaar Teresa Margolles bij haar project voor Manifesta 11. Sinds 2013 heeft Chacon-Pino verschillende tentoonstellingen en projecten georganiseerd in alternatieve kunstruimtes en in Peter Kilchmann Gallerie in Zürich. In 2013 was hij medeoprichter van kunstruimte Arbenz in Zürich.

(Estland, 1984) werkt als curator in het Kumu Museum in Tallinn. Ilves is bij het Kumu verantwoordelijk voor de afdeling hedendaagse kunst. Daar ligt haar focus als curator op het tonen van hedendaagse tendensen in de Estse en internationale kunst, en het introduceren van de klassiekers uit de moderne en hedendaagse kunst bij een breed publiek. Ook initieerde ze het Kumu Art Film Festival KuFF, met werk van beeldend kunstenaars die zich bezighouden met de relatie tussen kunst en film. Sinds 2010 geeft Ilves les bij de afdeling fotografie van de kunstacademie van Estland. Ilves studeerde kunstgeschiedenis aan dezelfde academie, en film en literatuur aan de Paris 8 universiteit.

(Palestina, 1985) werkt als curator en kunstenaar in Haifa. Naamna beweegt zich op de raakvlakken van de hedendaagse Palestijnse en Israelische kunstscenes. Na de afronding van haar studies in kunst en geografie aan de universiteit van Haifa, begon Naamna als beeldend kunstenaar. Ze organiseerde en participeerde in projecten waarbij de nadruk lag op samenwerking met kunstenaars en community art. De laatste jaren was Naamna actief als assistent curator bij Beit Hagefen gallery in Haifa waar ze verschillende projecten en tentoonstellingen in de galerie en de publieke ruimte cureerde en produceerde. Bijvoorbeeld Annual Holiday of Holidays at Haifa (2014-15). The Annual Haifa Story Festival exhibition (2014), en Arab Cultural-Days annual Festival (2014-15). Verder is Naamna betrokken bij andere culturele innitiatieven zoals Ha-Horva Artists’ Studios project (Downtown – Haifa) en een platform voor sociopolitieke kunst in de openbare ruimte ‘Wadi-Nisnas’ in Haifa (Museum without Walls). Daarnaast helpt Naamna kunstenaars met hun artistieke projecten.

(1986, Austria) is an architect and curator, who graduated from the Academy of Fine Arts Vienna, the Technical University Vienna and the École Supérieure d’Architecture Paris Malaquais. She is co-founder of pøl – office for architecture and research and currently also working for juri troy architects. Her freelance work includes collaborations with the galleries Emanuel Layr (Vienna) and Christian Andersen (Copenhagen), as well as artists like Nick Oberthaler, Benjamin Hirte, Lily Reynaud Dewar and Plamen Dejanoff. Previously she has worked for Élias Guenoun in France and Carlos Martinez in Switzerland. For the Academy of Fine Arts she was part of the curatorial team for the exhibition ‘BIG!BAD?MODERN’ and she co-curated the werkschau ‘STUDIOLI’.

(1986, Ukraine) is a curator and art critic. She holds an 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. Filyuk has been involved in the organization of exhibitions in various galleries and institutions and contributed to a number of Ukrainian magazines and online platforms such as Art Ukraine. Currently she is director of Dymchuk Gallery (Kyiv).

(1981, Finland) is a curator/visual artist who has been based in Helsinki, Finland. As a curator, he is currently focused on artists’ reactions to economic discourses and realities trough his curatorial project ‘Skills of Economy’. Recent selected curatorial work include ‘To Use As a Capital’ at One Night Only Gallery / Kunstnernes Hus (Oslo), ‘Skills of Economy – Post Models: Ore.e Refineries’ exhibition at SIC Space (Helsinki), ‘Floating Ghost’ project at Manifesta 10 On Board (Helsinki/St. Petersburg) and ‘What is Monumental Today?’, a seminar at Smolny Institute, St. Petersburg. Koitela has studied at Tampere University of Applied Sciences (BA Fine Art) and the Finnish Academy of Fine Art (MA Praxis).

(1986, Kenya) is a curator, writer and filmmaker from Nairobi. Since 2012 she has been on a personal journey in research, writing and installation, working with visual artists, photographers and filmmakers from around the African continent to explore varied constructions of identity for a new generation. Her work is concerned in particular with the ways in which physical space carries memory and can be used to reconstruct historical narratives. She has curated exhibitions for Gallery Watatu, the Kuona Trust Art Centre as well as various pop-up spaces across Africa. Her own visual work has been show at the Medina Gallery in Bamako and the Prince Claus Gallery in Amsterdam. Her writing has been published in Art Life Magazine, East African Standard Newspaper, Kwani, Loved & Found, the Sun Times and various other media.

(1989, Indonesia) is an independent curator and art lecturer based in Jakarta. His projects are mainly focusing on curating contemporary art related to alternative spaces and social-activism. Since 2011, he has been involved as a writer and editor with several projects in ruangrupa, an artist initiative from Jakarta. In the same year, he had joined with his alma mater, Jakarta Institute of Arts, as a lecturer, and debuted his initial curatorial project ‘Print: Process’, an exhibition in RURU Gallery (Jakarta). He was also employed by Ade Darmawan to co-curate ARTE International Arts Festival (Jakarta). In 2014, Asep Topan participated in the Next Generation Curators of Southeast Asia program, initiated by The Japan Foundation (Jakarta and Japan), and published the book ‘Sketsa dan Sebuah Kesalahan’ (Sketches and a Mistake), which contain his essays on the Indonesian art scene, including history and exhibition reviews, and published by FSR IKJ Press.

(1984, Italy) is an art critic and curator. She is currently a Researcher at the Research Department of the Madre Museum in Naples. She earned a Ph.D. in History of Contemporary Art at the Sapienza University in Rome in 2012, researching the history of Italian exhibitions in the 1960s and the 1970s. Between 2008 and 2012 she worked as an assistant curator at the museum MLAC in Rome, where she curated the exhibition ‘Czech Point’ (2011). She also worked as an assistant curator on several projects, including ‘VIVA Performance Lab’ in Cosenza, ‘Fair Play. Art, Sport and Video’ at the MAXXI in Rome and ‘Codice Italia’, the Italian Pavilion at the 56th Venice Biennale. Since 2006, she has actively collaborated with specialized magazines, such as Flash Art and Luxflux. In 2014, she authored the book ‘La smaterializzazione dell’arte in Italia 1967-1973’ (The Dematerialization of Art in Italy 1967-1973), published by Postmedia Books.

(1986, Spain) is a Spanish curator and writer. She holds a BA in Journalism from Complutense University in Madrid and a MA in Arts & Heritage from Maastricht University. She lives in Berlin since 2010, working in several off-spaces like Grimmuseum and Autocenter, and developing parallel projects. In the Netherlands, she participated in the Young Talents Program of The Ridder in Maastricht and co-founded the curatorial collective Autonomous Department. She was guest curator at the Euregio Open House in Mönchengladbach, where she curated the Transnational Series. Currently, she is curator of Vesselroom Project in Berlin, a space for exploration of new media, investigation of theoretical discourses and observation of current trends.

(1986, the Netherlands) is a curator based in Amsterdam. He has been working for Hotel Maria Kapel, an artist residency and project space in Hoorn, the Netherlands. Initially as guest curator of the exhibition Eyes On The Prize, which led to a permanent position in the curatorial team, and, since 2013, co-directorship. As associate curator at P/////AKT, platform for contemporary art in Amsterdam, he took part in organizing series of exhibitions by emerging artists, the most recent one being Perpetual Precedents. He furthermore has been guest-viewer for the selection committee of the 2014 Impakt Panorama Festival, contributed various texts to online magazine Mister Motley and recently published an essay for Annegien van Doorn´s exhibition Domestic Science at Foam in Amsterdam.

(1989, Italy) is an independent curator based in Trento, Italy. Ianeselli graduated in Cultural Heritage at Trento University with a research thesis on Roberto Crippa. Her recent activities, in the role of curatorial assistant, has been to work with Marcos Lutyens and Raimundas Malašauskas for the Hypnotic Show at dOCUMENTA (13), where she also assisted Tue Greenfort for the Worldly House as well as other pavilions. In the 2012 edition of Artissima in Turin, she held the position of assistant to Francesca Bertolotti, the fair’s head of curatorial projects. Ianeselli has been involved in the organization of exhibitions in various galleries and institutions, associations and platforms including Vessel. She also worked as assistant-curator for the Lithuanian-Cypriot Pavilion at the 55th Venice Biennale and curated Lutyens’s first solo show in Italy.

(1986, Latvia) is a curator from Riga, Latvia. She has worked at the Latvian Centre for Contemporary Art (2012-2014) where her recent projects included working as project director for the exhibition Re:visited (2014), as well as co-organizing the contemporary art festival Survival Kit 5 and its symposium Slow Revolution. Art in the Institutional and Territorial Peripheries (2013). She has co-curated an exhibition and research project (Revisiting Footnotes, 2013-2014) and ran a collaboration project with Alexandrian Contemporary Dance Centre (Centre Rézodanse – Egypte, 2012-2013). She was also co-curator of the exhibition (Re)construction of Friendship (2014), located in the former KGB house in Riga. In 2011 Lace worked as curatorial assistant at the art space Mains d’œuvres in Paris, France.

(1979, Philippines) is a curator and writer based in Southeast Asia. In 2011, she co-founded the artistic platform Planting Rice in Manila with curator Sidd Perez. Aside from curatorial projects featuring emerging artists and repotentialised spaces (whether online, in print or actual public spaces), the initiative has aimed to foster the cross-pollination among artistic communities. The online platform Planting Rice offers a resource of writings about current discussions and collaborations developing beyond available publications or mainstream spaces in Manila. In addition to making the work available for international audiences, Planting Rice is also aimed to nurture the local growth which is a strong thrust in Lian Ladia’s curatorial practice.

(1978, Israel) is a curator and researcher based in Tel Aviv. He studied History (BA) and Philosophy (MA) at Tel Aviv University and screen-based art at Bezalel Academy of Art. Since 2010, he is part of the leading team in HANUT31, an independent interdisciplinary art space in Tel Aviv, where he has curated numerous exhibitions in the large vitrines, and was director of the dance program. Currently he is taking part in the residency program at Artport, Tel Aviv.

(1985, Argentina) has an Art History degree from the Universidad de Buenos Aires and is currently researching Latin American Biennales. In 2010, she enriched her studies in Contemporary Art at the Université Paris. She has worked in the Education Departments of Museo Sívori, Colección Amalia Lacroze de Fortabat and Fundación Proa. In 2011, she worked in the Curatorial Department of the Museo de Arte Moderno de Buenos Aires. The following year, she produced and curated the exhibition Ventanas, which took place at the public hospital Dr. Alberto Eurnekian, Buenos Aires. In May 2012, she curated the exhibition Geométricos Hoy. Caminos en Expansion at Museo de Arte Contemporáneo de Buenos Aires.

(1983, Slovakia) is an independent curator based in the Netherlands. She holds an MSc in Economics and Social Sciences from Masaryk University, Czech Republic, and an MA in Arts and Heritage from Maastricht University, the Netherlands. As Assistant Curator at the Bonnefantenmuseum Maastricht, she took part in the organisation of the exhibitions Martin Visser: collector, designer, free spirit and BACA Masterclass. As Associate Curator she realised the exhibition Nachtfahrt at Bonnefanten Roermond and part of BACA Projects in collaboration with the Jan van Eyck Academie. Since 2009, she is a Board Member and Curator of the self-organised art initiative B32 in Maastricht. In 2013, Dittel took part in the curatorial residency programme at Schloss Ringenberg, Germany.

ma-vr
lara[at]deappel.nl

Lara Khaldi is artistiek directeur van de Appel en alumnus van het Curatorial Programme, 2013/2014. Ze was lid van het curatorenteam van documenta 15, 2020-2023. Ze doceerde aan en was het hoofd van het Media Studies Programme aan het Alquds Bard College, Jeruzalem, 2018 - 2020 en was tutor in het Disarming Design MA-programma aan het Sandberg Instituut, 2020-2022. Lara was curator van talrijke tentoonstellingen, waaronder; Het Sharjah Biennial offsite-project Shifting Grounds, Ramallah in 2017; A Sequence of Events in the Lives of the Dorment, Temporary Gallery, Keulen, 2020. Ze is redacteur van en heeft bijgedragen aan vele publicaties, waaronder In aching agony and longing I wait for you at the Spring of Thieves: Jumana Emil Abboud (Black Dog Press, 2018).

(1985, Italy) is a curator and researcher with a BA in Cultural Heritage and an MA in Contemporary Art History. Since 2008, she has been developing Temporary Black Space, an independent project space in Bergamo, Italy. Panza is currently researching the boundaries of art and curatorial practice considering the sense of utility towards specific contexts of everyday life. In 2012 and 2013, she was a Research Assistant at Casco – Office for Art, Design and Theory and participated in ICW of Vessel in Bari. In addition, she regularly writes for Artribune and Undo.net.

(1979, Poland) is a curator, art critic and blogger. She studied at the universities of Poznań, Kraków, Heidelberg and Frankfurt am Main, obtaining a BA in Economics and an MA in Philosophy. In her curatorial practice she focuses on art conceived as a source of knowledge and a tool for political and social change. She is a co-founder of initiatives dedicated to the current socio-economic situation and the city of Kraków – i.e. After Capitalism, Salt and Urban Project. She currently works at the Gallery of Contemporary Art Bunkier Sztuki in Kraków. Rostkowska teaches at the Academy of Fine Arts and at the Jagiellonian University, both in Kraków.

(1983, Ireland) is an independent curator. She 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. Strain makes up one half of the paired curatorial practice RGKSKSRG, alongside Rachael Gilbourne, and has worked in a curatorial capacity at Project Arts Centre, Dublin, and Butler Gallery, Kilkenny. Recent projects include a research residency at The Centre for Dying On Stage, Grazer Kunstverein, Austria, and the on-going development of On Curating Histories – a generative lecture series set to unfold in 2014. Strain serves on the board of directors for Commonage, a research, design and curatorial organisation based in Callan, Co Kilkenny; and is a member of The Good Hatchery, an artist-led initiative located in the boglands of Co Offaly.

(1987, France/ Morocco) is a curator and art historian based in Rabat, Morocco. She studied art history in Montpellier and Rennes, and philosophy in Nanterre. Boudou worked as a curatorial assistant at Palais de Tokyo (Paris) and L’appartement 22. In 2011, she co-founded an independent collective of curators, DIS/PARERE, which organized exhibitions in France and Venice with young French emerging artists. She recently co-curated a project at Frac Bretagne (Rennes, 2012) with artist Judith Deschamps. Other recent curatorial projects include ‘Ce lieu n’est pas la maison de Descartes’ (June 2013, French Institute of Amsterdam), ‘Le Signe Route’ (September 2013, L’Appartement 22, Rabat). Currently she is preparing a solo exhibition of Donelle Woolford as aprt of Marrakech Biennale (2014), a book to be published by FRAC Bretagne in collaboration with Judith Deschamps and a research project about the distribution of labour from the perspective of arts and crafts in line with mercantile linkages derived from Moroccan history.

(1985, Canada) is a curator and writer from Ottawa, Canada. She holds an MA from Carleton University, Ottawa and a BA from Queen’s University, Kingston, both in Art History. Until recently she was the Curatorial Research Work Study with Kitty Scott at The Banff Centre, Banff, Canada. She recently worked with Scott on the exhibition À Ciel Ouvert at the Musée nationale des beaux-arts du Québec, Québec City (2012); in the summer of 2012 she assisted with The Retreat, a section of dOCUMENTA(13) taking place in Banff in August 2012. Previously Cwynar held positions at the National Gallery of Canada and the Ottawa Art Gallery. Recent exhibitions curated by Cwynar include Lynne Cohen Photographs from 1973 to 1978, The Banff Centre, Banff (2012); The Work Locates Itself, Columbia University, New York (2012); and The Collector’s Circle, The Banff Park Museum National Historic Site, Banff, (2012). She is currently preparing a mobile gallery in a truck for Open Engagement, Portland (2012), and has been invited to curate The Last Laugh at apexart, New York (2013). Cwynar has written about contemporary art for C Magazine, Canadian Art, and Color Magazine, among other publications, and was the winner of the 2011 C Magazine New Critics Competition. In November 2011, she was a participant in Independent Curators International’s Curatorial Intensive.

(Denmark, 1985) is a Copenhagen based curator, writer and researcher. She holds a BA in Art History from the University of Copenhagen and an MA in Interactive Media: Critical Theory and Practice from Goldsmiths, University of London. Her interests revolve around bodies, both human and non-human, and feminist thinking. She has curated exhibitions in several artist-run spaces in Copenhagen and is co-founder of the nomadic study group ‘Entering Into Relation with an Object.’ As part of the Laboratory for Aesthetics and Ecology, a curatorial platform for planetary becoming, she co-translated and published Donna Haraway’s ‘Playing String Figures with Companion Species: Staying with the Trouble’ into Danish. A rather hopeless romantic, her previous research has engaged with Victorian prostitution in London and with desire. She is currently working with the Centre for Precarious Lives researching modes of precarity in late capitalism in the hope that things might get better.

(1979, United States) is an independent curator and artist from Philadelphia. Her curatorial practice focuses on emerging contemporary art, particularly collaborative, interdisciplinary, and socially engaged work. From 2008 to 2011 she held the position of director and co-collaborator of FLUXspace, a non-profit alternative art space and collective project. Angela studied Cultural Anthropology and Art History at Earlham College. Prior to joining FLUXspace, she worked with arts organizations and institutions including the Freer and Sackler Galleries, Smithsonian Institution, Washington, DC, Maryland Art Place, Baltimore, MD, and Transformer, Washington, DC. Recent projects with FLUXspace include Mia Feuer: Displacement (2009), No Soul for Sale at the X Initiative, NYC (2010), and at the TATE Modern, London, UK (2011), Kat Culchur (2011), and a collectively produced chapbook, re: Where Art Belongs. An exhibition of her work, Set Theory, recently opened at ACRE Projects in Chicago, IL.

(1986, India). Writer. Artist. Architect. Holds a Masters in Arts and Aesthetics from Jawaharlal Nehru University, New Delhi with a graduate degree in architecture. Writes on art and cinema and is involved in new media art practice as part of an urban arts collective in Bangalore with focus on the arts in urban spaces and artistic expressions through image-text metaphors. Her thesis (2009) engaged with the rejuvenation and re-scripting of the Kalaghoda Art District, Mumbai as a reinforced cultural node in the existing fabric of the city. Her latest co-curatorial venture with the Raqs Media Collective, titled ‘Adventures of a Narcoleptic Flaneur’ was exhibited in the School of Arts and Aesthetics, JNU, Delhi in winter 2011. Srajana curated Familiar Strangers, part of the India Foundation for the Arts and KCFS curatorial workshop project 2012, in Mumbai. Srajana writes prose, poetry, travelogues and reflections, some of which trickle their way into her blog. She is also a classical Odissi dancer by passion.

(1981, Peru) is an independent curator, professor and a psychoanalytic-oriented therapist. She obtained her BA at the Pontifical Catholic University of Perú, where she also received her MA in Psychoanalytical Theory. She works both as an university teacher and as a psychotherapist. In 2008 she was assistant curator in “(E) star” gallery. Since then she has written for several exhibition catalogues in Perú and abroad. In 2010, based on the research of her master’s thesis, she curated the exhibition “The State of Fictions” at the Spanish Cultural Center in Lima. In 2012 she co-curated “Historical Animals” in the school of Art and design “Corriente Alterna” and “Black Days” in “Revolver” gallery. She has recently worked on her project “The Tyranny of Intimacy”, opening August 2012, at the Spanish Cultural Center in Lima.

(1982, United States) is a Swiss/American curator and visual artist based in Egypt.

(b. 1983, Italy) is an art historian, curator and writer born in southern Italy and currently based in Cairo, where she is curator at Beirut, and art history lecturer at Azza Fahmy Design Studio. She holds a BA and MA degree in art history and contemporary art from La Sapienza University in Rome. She co-founded and co-directed the art initiative Opera Rebis, and has worked for various institutions including Manifesta7 and Galleria Civica di Arte Contemporanea di Trento. Her writings have appeared in various journals, magazines and art(ist) publications, such as Art-Agenda, Frieze, Flash Art International, Artribune, Arte e Critica and Afrikaada. Recent curatorial projects include Writing with the other hand is imagining, Beirut (Cairo, 2013); You Only Fall Twice, CCA Derry-Londonderry (2013); The Real Thing?, Palais de Tokyo, part of Nouvelles Vagues (Paris, 2013); Posse Comitatus, Fondation D’Entreprise Ricard (Paris, 2013); Specters of…, 98weeks (Beirut, 2013).

(b. 1982, Russia) lives and works between Warsaw, Amsterdam and Moscow. She holds an MA degree in History of Art from the Moscow State University for Humanities. Katia currently collaborates with Center of Contemporary art Ujazdowski Castle in Warsaw as an Assistant Curator, where she also contributes to the programme of the Video Room, bringing works by such artists as Javier Tellez or Keren Cytter to Poland. Katia collaborates with Moscow Design Museum as an invited curatorial adviser. Her recent independent curatorial projects Playing Nature within the Special Programme of the 5th Moscow Biennale of Contemporary art (CCA Sokol, Moscow, 2013) and NO LAND’S MEN (De Punt, Amsterdam, 2013) are held within the official year of Dutch-Russian cultural collaboration. Earlier she has participated twice in the Moscow Biennale of Young Art Que Vive (2008-2010) with curatorial projects and co-curated a non-profit project that used a marine container as an art space, supporting young artists in Russia (2008-2010). Katia collaborates with various cultural resources internationally including www.colta.ru (RUS), Metropolis M (NL).

(b. 1981, Singapore) is a writer and Curator of Para Site, Hong Kong. She served in various curatorial roles at the Singapore Art Museum and National University of Singapore (NUS) Museum. Lim graduated with honours in Art History from University of Queensland, Australia and has a MA in Southeast Asian Studies from the National University of Singapore. Past curatorial projects that she have been involved in include Telah Terbit: Out Now (Singapore Art Museum, 2006), Bound for Glory: Wong Hoy Cheong (2008), Curating Lab: 100 objects (Remixed, 2009), Why Stay If You Can Go? (Stedelijk Museum & de Appel arts centre, 2011) Three Artists Walk Into A Bar… (de Appel arts centre, 2012), Do Androids Dream of Electric Sheep? The Paradox of Choice in a Time of Anxiety (Para Site, 2012) and Present Future (Artissima 20, 2013).

(b. 1984, the Netherlands) studied Art History at Rijksuniversiteit Groningen and holds a MA degree in Museum Curating from Free University Amsterdam. During a five-month research period in Indonesia for her thesis ‘The Phoenix of Linear Time. Indonesian Contemporary Art and the Question of History’, she was guest curator of the group exhibition ‘The Mental Archive’ at Cemeti Art House in Yogyakarta. She worked as a curatorial trainee at the Centraal Museum Utrecht and Stedelijk Museum Bureau Amsterdam, where she worked on exhibitions, workshops and discursive programmes. Recently, Sanne has been working as a curatorial member of Electric Palm Tree, a long-term project/platform/community, currently powered by Casco – Office for Art, Design and Theory in Utrecht that deals with the politics of culture and issues of co-existence in the current global society. Her current research focuses on contemporary artistic practices that analyse the construction and representations of history, thereby intersecting discourses on postcolonialism, transnationalism and globalization as well as notions on the archival, memory and the perception of time. In her practice she aims to break free from prevailing paradigms by means of transnational and collective exchange. Sanne has been a contributing writer and editor to a number of catalogues and magazines.

(b. 1983, England) is a curator and artist based in London where he completed his BA in Fine Art at Middlesex University. He held the position of Associate Curator for Zoo Art Enterprises from 2010 – 2011, at the same time working as Artists Assistant for Smadar Dreyfus and Fair Manager for SUNDAY. Prior to this he worked as Head of Exhibitions for Zoo Art Fair and Program’s Coordinator for Max Wigram Gallery. Alongside he has developed an independent curatorial practice, recently founding exhibition space and commissioning agency The Enlightenment Gallery, which to date has been working with artists including Vanessa Billy, Alan Kane, Kelly Large, Negociatas, Giorgio Sadotti, and John Seth. In addition he is a member of artist collective The Hut Project. Recent solo exhibitions include Giles said…, Limoncello, London, 2010; Machine Gun Corridor, The Corridor, BolteLang, Zurich, 2010; and Old Kunst, ICA, London, part of Nought to Sixty.

(b.1984, Macedonia) studied History of Art at the University St. Cyril and Methodius in Skopje. In addition she has a formal training in collective self-educational and self-organisational processes as part of the one-year long project “Deschooling classroom” (organized by TkH, Belgrade and Kontrapunkt, Skopje). Currently she works at Press To Exit Project Space in Skopje as a programme co-ordinator. Press To Exit Project Space is a special programme-based artist initiative for research and production in the field of visual arts and curatorial practices. She co-organized a couple of projects as part of this organization: Project 35, initiated by Independent Curators International in New York, Urgency vs. Leisure, OuUnPo meeting in Belgrade, OPEN City with aMAZE, cultural institute from Milan She has curated a number of exhibitions in Macedonia, mainly with young artists, and co-curated several international group exhibitions, among which Creative Cities, Artistic Towns and Fantastic Villages as part of the festival 4Tuned Cities, the 4th Performance Art workshop & shows in Cairo, Egypt and the XIV Biennale for young artists from Europe and Mediterranean, Skopje. Ivana has journalistic experience, writing for a daily newspaper in Macedonia until recently.

(b. 1985, France) is a freelance curator and art critic. Her research mainly focuses on curating contemporary performance and the performative nature of curating and art criticism. She recently curated “A Little Less Conversation”, a conference with simultaneous performances about exhibiting contemporary performance, at the Stedelijk Museum (Amsterdam). In 2012, she will curate Crache! (solo show by Luciana Lamothe, Galerie Alberta Pane, Paris) as well as an exhibition and a series of performances at la Maison Descartes − Institut Français des Pays−Bas and the Goethe Institut (Amsterdam). She is guest curator of Zone d’Expérimentation #4 (Astérides, Marseille) to work in collaboration with the artists in residency. She regularly contributes to the magazines Critique d´Art, Superstition, and Zérodeux.

(b. 1985, India) is an independent curator, researcher and writer. She is part of the artistic team of the 8th Berlin Biennale (2014). She has pursued post-graduate studies at The School of Arts & Aesthetics (JNU), New Delhi. Recent projects include Landings (Witte de With Center for Contemporary Art and Partner Organizations); The Museum of Rhythm — a segment of Taipei Biennial 2012; INexactly THIS (2012 edition of Kunstvlaai: Festival of Independents). She has taught in the MA programme of Artistic Research (University of Amsterdam and Sandberg Institute) as well as the Studium Generale Programme at Gerrit Rietveld Academie. Her writing has appeared in publications such as Afterall, Art Agenda, e-flux journal, Manifesta Journal, Metropolis M and Mint (The Wallstreet Journal), among others.

(b. 1979, Canada) is an independent curator based in Toronto. He has curated projects for the Stedelijk Museum, SAVAC, Oakville Galleries, and was a contributor to Matthew Lutz-Kinoy’s Loose Bodies at Elaine MGK. His writing has appeared in Prefix Photo, C Magazine, Fillip, and The Power Plant publication Jimmy Robert: Draw the Line (in collaboration with Oliver Husain). Currently, he is a researcher for the Performance in Residence platform of If I Can’t Dance, I Don’t Want to Be Part of Your Revolution.

(b. 1978, Argentina) is a curator, critic and professor based in Buenos Aires. He studied Art History at Universidad de Buenos Aires and curatorial practice at de Appel arts centre, Amsterdam. He has been curating exhibitions in Argentina and internationally for the past six years, writing for La Nacion, the second daily newspaper in his country, different specialized magazines, giving lectures and teaching at Universidad Torcuato Di Tella. He has been involved in the production of two catalogues and a book of essays. He is a member of Rosa Chancho artist collective.

b. 1981, Netherlands) studied Art and Architectural History at the University of Amsterdam and the Freie Universität in Berlin. Her thesis was titled ‘Citywalkers. The art of Janet Cardiff and Francis Alÿs’, on walking as art. In 2008 she started working as a researcher for the architecture firm Powerhouse Company in Rotterdam, where she engaged in an extensive research project on the economic crisis and its intricate relation to architecture called Rien ne va plus / Faites vos jeux. She was curator of exhibition Rien ne va plus that opened in September 2009 at the NAiM/Bureau Europe in Maastricht, editor-in-chief of the accompanying reader (published i.c.w. with A10 magazine) and curator of the related symposium organized at the Berlage Institute in June 2010. She is a visiting critic at the project space Lokaal 01 in Antwerp and writes for various magazines such as Mr. Motley, Tubelight and Nowishere. In her practice she combines her interest in contemporary art, urban studies and architecture.

(b. 1982, Australia) is a curator, critic and researcher. She has been a curator at If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution since 2012. Independent projects include the ongoing research project Landings (Witte de With Centre for Contemporary Art & other partner organizations) and the performance series StageIt! (Stedelijk Museum Amsterdam). Vivian is editor of The Lip Anthology, Macmillan Art Publishing and Kunstverein Publishing in collaboration with Grazer Kunstverein, and contributed to the anthology Curating Research edited by Paul O’Neill and Mick Wilson. She led the summer school A Present in Print at the Copenhagen Contemporary Art Festival (2012) in collaboration with the Royal Danish Academy of Fine Arts. She has been a contributing editor of Discipline, and her writing has appeared in periodicals including Frieze, e-flux Journal, Scapegoat, Pages Magazine, LEAP Magazine, Metropolis M, Eyeline and the Journal of Art (Art Association of Australia and New Zealand), among others.

(b. 1978, Guangdong, China) lives and works in Guangzhou and she is currently the curator of Guangdong Times Museum in China. She regularly contributes to The Independent Critic, LEAP and artforum.com.cn and her critical writings center around issues about curatorial reflection, institutional practice and conceptualism in Contemporary China. Her latest project A Museum That is Not brought up an alternative proposition regarding the historical narrative and status quo of museums in the context of contemporary China.

(b. 1978, Montreal, Canada) is a curator, writer and artist. While earning an MFA at the Glasgow School of Art in Scotland, she founded A.Vermin, and under this pseudonym presented exhibitions between 2006-2009. In 2010 she co-curated the project ‘I’m Not Here. An Exhibition Without Francis Alÿs’ at de Appel’s Boys’ School in Amsterdam with her colleagues from de Appel’s Curatorial Programme. Alhena has contributed to magazines such as Canadian Art, MAP: Journeys in Contemporary Art, and Kaleidoscope. In 2011 she was the Museum as Hub Fellow at the New Museum in New York and co-curated, with Dean Daderko, Directing Light onto Fist of Father, a solo exhibition by the artist MPA at Leo Koenig in New York City, which included a performance that took place as part of Performa 2011.

(b. 1984, Cuba) is an independent curator and art critic based in Barcelona, Spain. She has been an assistant curator at the Wilfredo Lam Art Centre, which organizes the Havana Biennale. In 2009, she was one of the winners of Inéditos 09, a prize established by Caja Madrid for young curators. She has independently curated exhibitions such as Cero, Young Cuban Artists, La Habana (2007); Just Around the Corner, La Casa Encendida, Madrid (2009); I’m not here. An exhibition without Francis Alÿs, de Appel Arts Centre, Amsterdam (2010); and Somewhere Else, NoguerasBlanchard, Barcelona (2011). She is currently developing a one-year exhibition programme for NoguerasBlanchard space in Barcelona under the title The Story Behind and co-curating a solo survey of Roman Ondàk for Times Museum in Guangzhou to take place in 2015. As an art critic, she has written essays for exhibition catalogues and art magazines. She has also worked in different artists’ projects such as Tania Bruguera’s Cátedra Arte de Conducta (Behaviour Art School). She graduated in art history from Havana University.

(b. 1982, Israel) is an independent curator based in Amsterdam and Tel-Aviv. She holds a postgraduate diploma in curating from Goldsmith College, London. Messer is part of the curatorial duo High&Low Bureau and has been collaborating internationally with museums, institutions and independent art spaces including: Van Abbe Museum, SKOR|Foundation for Art and Public Domain, Israeli Center for Digital Art, Matadero Art Center, CCA Warsaw and the Stedelijk Museum, Amsterdam. Messer was the research curator for the 13th Istanbul Biennial.

(b. 1982, Belgium) studied art history at the University of Ghent and the Freie Universität in Belin. As an independent curator he organized projects such as: Cité-Action, Assenede, 2006; Body Fluids, Conflict Room, Antwerp, 2008; Strategies of Confidence, NICC, Antwerp, 2009; Platform 4, Designcenter de Winkelhaak, Antwerp, 2009; De Connectie. NUCLEO, Ghent, 2011, Entree>Exit, Extra City Kunsthal Antwerpen, 2012. From 2006 onwards he initiated a platform for art exhibitions named QUSS and is chairman since then. In 2009 he participated in the Curatorial Programme of de Appel and co-curated the exhibition: I’m Not Here. An Exhibition Without Francis Alÿs. Short after he worked as associate curator for Special and Offsite projects, for Dublin Contemporary 2011, Ireland. Currently he is artistic director of the Artists In Residence Program AIR Antwerpen and active as writer and freelance curator.

is a curator and writer based in Lisbon, where he is co-director of Kunsthalle Lissabon. Recent shows he curated include Melvin Moti: Echo Chamber (2012), Pilvi Takala: Flip side (2011), Ahmet Ogut: Stones to throw (2011), Wilfredo Prieto: Landscape with the fall of Icarus (2011), Mounira Al Solh: The sea is a stereo (2010) and Pedro Barateiro: Today our eyes are closed (2010). He co-edited the first and second volumes of Performing the Institution(al), which document Kunsthalle Lissabon’s activities and feature new essays on the topic by international writers.

(b. 1985, Zimbabwe) is a curator and writer who cooks. She is currently teaching in Fine Art at the Gerrit Rietveld Academie and a member of the School of Missing Studies, MFA programme at the Sandberg Instituut in Amsterdam, the Netherlands. Recently she conducted an MFA at the Centre for Curating the Archive, University of Cape Town, South Africa during which time she initiated the Annex Residency Programme in collaboration with the South African National Gallery.

(b. 1977, Leipzig, Germany) studied art history and economics in Leipzig (Germany) and Vienna (Austria) and graduated 2004 with an MA thesis about the Atlas Archive from Walid Raád. She worked at the Vienna Secession, was Tutor at the University in Leipzig and organised different Seminars about video art and courses around the question of the Eurocentric of Art History Education in Germany. As independent curator she did diverse public art project such as “Westend 05 – know your rights” in Leipzig. Since 2005 she works as curator for a Kunstverein at the Rosa-Luxemburg-Platz in Berlin and realized projects with Michaela Meise, Simon Dybbroe Møller, Lucas Lenglet a.o. In 2007 she founded the non-commercial art space: emyt in Berlin: emyt presents and mediates contemporary artistic positions and provides a space for artists and curators with the opportunity to test and discuss different curatorial practices. Besides thematic group exhibitions and solo presentations: emyt aims to be a space to discuss forms of representation of art and social issues. As part of the exhibitions and presentations talks are organized in which artistic strategies, processes and issues are discussed.

(b. 1980, Great Britain) is a writer and independent curator based between Cairo and London. She has contributed writing to frieze, Untitled, Flash Art, Concept Store, Egypt Independent, Mada Masr, the Exhibitionist, Contemporary And, and towards catalogue texts for Doa Aly, Runa Islam and Frances Stark. With Anna Colin she has collaborated on independent curatorial projects such as Hydrarchy at Gasworks, London and CIC, Cairo, and she is currently working on the sound project An Audio Guide to the Egyptian Museum. She studied Visual Cultures MA at Goldsmiths College and worked as Residencies Curator at Gasworks, London, before participating in de Appel Curatorial Programme. Between 2009-2013 she was Artistic Director of Contemporary Image Collective in Cairo. At CIC, she oversaw major shifts including relocation, the launch of the CIC PhotoSchool, and the development of Rufoof, a combined digital catalogue for major public contemporary art libraries in Egypt. Under her artistic direction CIC developed variously collaborative, publication, exhibition, and critical workshop projects including The Paper Trail with Francesc Ruiz, the Alternative News Agency, Propaganda By Monuments (co-curated with Clare Butcher) and Battles of Images, curated by Shuruq Harb.

(b. 1982, Hongkong, China) is research and project management o the FORMER WEST project since 2011. Li studied art history and comparative literature at the University of Hong Kong in Hong Kong and participated in the de Appel Curatorial Programme in Amsterdam in 2008 – 2009. She co-curated (with Tobias Berger and Yung Ma) Hong Kong’s representation Making (Perfect) World: Harbour, Hong Kong, Alienated Cities and Dreams by Pak Sheung Chuen at the 53rd Venice Biennale (2009). She was part of the editorial team of Actors, Agents and Attendants: Speculations on the cultural organisation of civility (2010), the debut symposia series of SKOR, Amsterdam with Andrea Phillips and Markus Miessen. Previously, she was curator at Para/Site Art Space, Hong Kong from 2006 – 2008, and has regularly contributed to magazines and catalogs in South East Asia. Other recent curatorial projects include: Prologue – Speculations on the cultural organisation of civility, SKOR and various locations, Amsterdam, 2010; Not Yesterday, Not Tomorrow, Cable Factory, Helsinki, 2009; Weak Signals, Wild Cards, Shell Kantine, Amsterdam, 2009; Copied Right, Para/Site Art Space, Hong Kong, 2007; and STABLE – the balance of power, Fotan Open Studios, Hong Kong, 2007. Li lives and works in Amsterdam and Utrecht.

(b. 1977, Belgrade, Serbia) studied History of Art at the University of Belgrade and School for History and Theory of Images, an independent educational project founded by Center for Contemporary Arts in Belgrade. Since 2001 she has been collaborating with the Centre for Contemporary Arts, Belgrade. She was one of the curators of the Yugoslav Biennial of Young Artists, “Untitled As Yet” in Vršac and member of Prelom kolektiv (www.prelomkolektiv.org), Belgrade based group of theorists, curators and activists working on Prelom magazine and organizing various projects. Since 2004 working in the Museum of Contemporary Art in Belgrade. Curator of the “SPAPORT” international annual exhibition of contemporary Art in Banja Luka, Bosnia and Herzegovina.

(b. 1977, South Korea) currently works as a director of Corner Art Space, Seoul, and as curator of Mimesis Art Museum, Paju Book City. She was a co-director for Sound Effects Seoul, the first major international sound art festival in Korea with Baruch Gottlieb (2007-2010). After participating in de Appel Curatorial Programme 2008/2009, Yang created the exhibition programs at Space Hamilton, Seoul to become a sought-after public sphere for alternative art and hybrid cultures. From 2006 Yang worked for two years as a curator at Alternative Space LOOP and participated as an editor for two books Korean Museums and Museums of the World through the Korean Museum Associations. Her interest lies in the communication with the public for new social comments through artists and works that experiment with radio, sound, performance and media art. Curated projects include: The Shadows of the Future: 7 Videos from Korea (co-curator with Heiner Holtappel, Museum of Bucharest, 2013), On the Spot (participating curator, National Museum of Contemporary Art Korea, 2012), Mouth to Mouth to Mouth: Contemporary Art from Seoul (co-curator with Ana Nikitovic, Salon of Contemporary Art Museum, Belgrade, 2010), Now What: Contemporary Art and Democracy (Space Hamilton, Insa Art Space of Arts Council Korea.

(b. 1973, Russia) currently lives and works in Moscow as curator of the Center of Contemporary Culture GARAGE, where she organizes shows of both Russian and international art. Aksenova previously ran the education program at the centre, developing a series of symposia, discussions, and master classes. Prior to this, she worked at the State Tretyakov Gallery and worked on independent curatorial projects in various non-profit institutions in Moscow. Aksenova holds an MA in Art History from the Russian State University for the Humanities. In 2010 she participated in The Curatorial Intensive at ICA, New York.

(b. 1973, Canada) is a Vancouver based curator, writer and educator. Birch holds a BA degree in Fine Arts (Photography) from Emily Carr University of Art and Design, and a MA Degree in Art History (Critical and Curatorial Studies) from the University of British Columbia. Birch has written for numerous art publications, and is Vancouver Editorial Advisor for C Magazine. He was Co-Director/Curator of Access Gallery from 2008 to 2010, and he is currently Exhibitions Curator at The Western Front. Birch has been teaching in the Critical and Cultural Studies Faculty at Emily Carr University since 2009.

(b. 1980, New Zealand) is curator of contemporary art at the Museum of New Zealand Te Papa Tongarewa in Wellington. In 2010, she was guest-curator at Foundation dertien hectare, where she realised the exhibition ‘ The woods that see and hear’. Until August 2007, Sarah Farrar (New Zealand,1980) was Curator at City Gallery Wellington, New Zealand, where she curated the ongoing video programme, SQUARE2 (2006-07), ‘Contemporary Projects’ and ‘Lost and Found Video Programme’ (2007), ‘Salla Tykkä: Cave and Zoo’ (2007), ‘Peter Madden: Escape from Orchid City’ (2006-07) and ‘Yuk King Tan: Overflow’ (2005-06). From 2004-06 Sarah Farrar was Assistant Curator at City Gallery Wellington where she organised over twenty exhibitions for the Michael Hirschfeld Gallery. Sarah Farrar was a member of the Board of Trustees, of High Street Project, an artist-run space in Christchurch, NZ. She holds BA Art History (First Class Honours) from the University of Canterbury, Christchurch, NZ. Sarah Farrar’s attendance of de Appel’s Curatorial Programme is supported by Creative New Zealand Toi Aotearoa.

(b. 1983, Colombia) is an art critic and curator. He studied History and Theory of Art and Architecture in Universidad de Los Andes, Colombia and Universidade de São Paulo, Brazil. Guerrero is currently Associate Artistic Director/Curator of the independent art space TEOR/éTica, San José, Costa Rica. Recent curatorial projects include: A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story (co-curated with Cosmin Costinaş), Para Site, Hong Kong, 2013; Men Amongst the Ruins, TEOR/éTica, 2012; Kadist. Pathways into a collection, Minsheng Art Museum, Shanghai, 2012; The City of the Naked Man, Museu de Arte Moderna de São Paulo, São Paulo, 2010; Flying Down to Earth, MARCO, Vigo and FRAC Lorraine, Metz, 2010; and Duet for Cannibals, Royal Tropical Institute, Amsterdam, 2010. His writings have appeared in Afterall, ArtNexus, Metropolis M, Nero, Manifesta Journal, and Ramona, among other publications. Guerrero lives and works in Hong Kong and periodically works from San José.

(b. 1979, Lithuania) is a curator at the Contemporary Art Centre (CAC) in Vilnius, and one of the founding editors of The Baltic Notebooks of Anthony Blunt. Her recent exhibitions include The Nineties – an exhibition at Kim? Contemporary Art Centre in Riga set alongside a 20-page complaint by the philosopher Arūnas Sverdiolas; Proteus – a project dedicated to the possibility of metamorphoses of art experiences, curated for the CAC with the philosopher Kristupas Sabolius; Intermission – a one-day-only for Survival Kit festival in Riga built around the idea of encounters in between the acts (in theatre and otherwise); Illusionists. On Stage Design and Contemporary Art curated for the CAC with Julija Fomina; Panslavisms – an exhibition in Warsaw that looked at some of the cultural and socio-political tensions within the Eastern European region, curated with Joanna Warsza. Along with Aurimė Aleksandravičiūtė and Jonas Žakaitis she is appointed Curator of the 12th Baltic Triennial of International Art, organised by the CAC Vilnius.

(b. 1979, Germany) works as curator, stage designer, writer/editor and art historian based in Berlin. She has worked as assistant curator at Sabarsky Collection/Germany before being awarded the H+F Curatorial Grant of FRAC Nord-Pas de Calais, Dunkerque. Since 2009 she publishes internationally (On Curating, Savvy Online Magazine, IDEA, African Arts etc.) and works as associate curator with the European artist platform Enough Room for Space. She is specialized in Contemporary Art from African contexts and its discourses lately, partly through her PhD project at FU Berlin that is dealing with informal professionalization strategies of contemporary artists in Douala, Cameroon. With this research and as co-editor of the DiARTgonale Special Editions she enriches the debate on the art field’s globalization by perspectives of artists at its periphery and explores modes of cooperation.

(b. 1978, Tallinn), based in Bergen, Berlin and Stockholm, developed her curatorial practice alongside her studies at the Visual Art department of the National Academy of Arts in Bergen, initiating her first curatorial exploration in 2002. This led to several still ongoing collaborations. In 2006 she initiated I LoveYourWork – which had its anchor point at Landmark, Bergen Kunsthall- with the drive to commission and co-produce new works with artists that work with different methodologies in the diverse field of performance and sound. Part of her practice as an artist and a curator she has contributed to artist books, installations, catalogues as well as lectured at Universities and leading art institutions amongst others in Tallinn, Oslo, Santiago de Chile, Copenhagen, Vancouver and Reykjavik. Since 2004 she is regularly contributing to the art project Sørfinnset Skole / the nord land in Gildeskål, Norway, a sister project to The Landfoundation in Chiangmai, Thailand. With an interest in the discourse on art and public space she worked as consultant for (KORO) art in public space Norway, where she in 2010 together with Annette Kierulf commissioned four large-scale permanent artworks for the University of Bergen. Together with artist and curator Åse Løvgren, she initiated the ongoing collaboration RAKETT (2003), which is a mobile platform for multivocal exchange through collaborative curatorial and art projects. Implicitly and explicitly, their work touch on a range of questions around (co)authorship, (im)material production, the role of artist and curator, and the potential of mobile and changeable platforms in the institutional infrastructure for art and the society at large. Previously Rakett curated COMMON LANDS – Allmannaretten, an exhibition project that through seminars, readers and art projects utilized the process of redevelopment of Oslo´s former industrial harbour, Bjørvika, to highlight a number of socio-political issues associated with the common in relation to urban development, democracy, access to and the distribution of land and resources. Since January 2013 she is the director at Konsthall C in Stockholm.

(b. 1981, Poland) is an art historian, writer and Curator of Contemporary Art at the Muzeum Sztuki in Lodz (www.msl.org.pl). She is a graduate of Curatorial Programme (de Appel arts centre, Amsterdam 2006/2007). Between 2006–2010 she was a guest curator at Van Abbemuseum in Eindhoven where she curated and edited Notes From the Future of Art. Selected Writings of Jerzy Ludwiński (2007), co-curated the solo exhibition of Minerva Cuevas (with Annie Fletcher, 2009) and Andrzej Wróblewski. To The Margin and Back (2010). Recent projects at the Muzeum Sztuki include Art Always Has Its Consequences (2008–2010) an international platform for art from the post-communist Europe, Working Title: Archive (2008–2009), individual exhibition of Sanja Iveković Practice Makes the Master (Lodz, 2009) and a group exhibition Eyes Looking for a Head to Inhabit (2011). In 2012 she submitted at the University of Warsaw the PHD dissertation Museum of Current Art – Discourse and Event in which she focuses on the Polish museum discourse between 1965–1975 within broader European perspective. Currently she works on the project on the experience of improvisational movement for 2013 and the collection on theoretical writings by Zbigniew Dłubak (1921–2005).

(b. 1974, England) is an arts organiser occupying a mid-point between artist and gallery, realizing ambitious projects for artists, often in the face of restrictive means. He studied Graphic Design at Camberwell School of Art and also holds a Master of Science in Advanced Architectural Studies from the Bartlett School of Graduate Studies. He has worked for artists such as Darren Almond and Carsten Nicolai as their assistant and as project manager at the Kunstwerke Institute of Contemporary Art in Berlin. He has curated five exhibitions which has included the work of Saskia Olde Wolbers, Emma Kay, Gabriel Lester, Tonico Lemos Auaud and Daragh Reeves. He has also directed the music to the feature film Movern Callar.

(b. 1979, Chile) is a private investigator, amateur dancer and independent curator. She holds an MA degree in Modern Art: Critical and Curatorial Studies from Columbia University and a BA degree in Aesthetics from Universidad Cátolica, Santiago, Chile. Currently, she directs the research residency program Ensayos -based in Tierra del Fuego- through which artists, scientists, and local inhabitants contemplate and engage in movements related to Ecology. From 2008-2010 she directed the Visual Arts Department of the cultural centre Matucana 100 in Santiago, Chile and in 2010 she was resident at Kadist Art Foundation in Paris, the city were she participated in the Program of Experimentation in Arts and Politics at Science Po.

(b. 1977, the Netherlands) is a freelance curator and producer based in Rotterdam. She is interested in performative practice, and the projects that she has been involved in bring together theatrical and curatorial aspects. Since 2007 she worked as a curator at If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution on ambitious performative projects. In 2010, Gouwenberg initiated A.P.E (Art Projects Era) with artist Keren Cytter. Her résumé includes a number of large international collaborations and projects but also a continuing long-term collaboration with artist Joris Lindhout on the project Gothic as a Cultural Strategy. Currently she starts a new performance program and a residency for artists and theatre makers called Deltaworkers, based in New Orleans. She is a short film programmer for the International Film Festival Rotterdam, a committee member at the Mondriaan Fund, and a board member of Enough Room for Space, Ponies Theater, and Touki Delphine.

(b. 1976, Turkey) is the Director and Curator of the Witte de With Center for Contemporary Art in Rotterdam. During her directorship, Witte de With commissioned The Humans – an ambitious theatrical play by writer and artist Alexandre Singh to premiere in Fall 2013 and its monthly signature summits Causeries, and co-commissioned the open archive and collection Tulkus 1880 to 2018 by Paola Pivi. Ayas curated Blueprints by Chinese artist and thinker Qiu Zhijie (2012), Line no. 2 (Holy Bible) by Turkish-Swedish artist Meric Algun Ringborg and co-curated Surplus Authors with Phillippe Pirotte (2012). In addition, Ayas launched the art & research program The World Turned Inside Out (2013- ongoing) and Witte de With’s new online platform WdW Review, where she is currently, together with writer and curator Adam Kleinman, the Chief Co-Editor.

(b. 1978, New Zealand) is Curator of Visual Arts of Project Arts Centre, Dublin. She has commissioned new exhibitions with Geoffrey Farmer, Lonnie van Brummelen & Siebren de Haan, Sung Hwan Kim, Jesse Jones, Katya Sander, Niamh O’Malley, Mario Garcia Torres, Clemens von Wedemeyer, Sarah Browne, and Mikala Dwyer amongst others, and curated group exhibitions including The Prehistory of the Crisis 1 & 2, Blackboxing, and Conjuring for Beginners, which took place across the gallery and the two black box theatres of Project Arts Centre. In 2011 she co‐initiated the Visual Arts Workers Forum, which continues to develop as a networking and forum for debate in the visual arts of Ireland, and in 2013 has partnered with IMMA to develop an International Visitor’s Program for Ireland. She was previously Assistant Curator at Artspace, Auckland, and Director of Fresh and Gridlocked in Christchurch, New Zealand, where she graduated BFA from Canterbury University School of Fine Arts.

 (b. 1964, Moldova) is a visual artist/freelance curator based in Chisinau and Bucharest. Stefan’s artistic and curatorial agenda is closely connected to undergoing processes and changes that occurred in the post-socialist societies after 1989. Among his preoccupations are the aspects of mass-manipulation techniques, political engineering strategies (political engineering), forms of colonization and forced culturalization that culminated in some cases with the construction of artificial entities, as it is the case in the Republic of Moldova. Rusu was trained as a visual artist and later extended his practice to curating, managing and fundraising projects, editing TV programs, producing experimental films, TV reports and documentaries. Starting from the year 2000 he is involved in the evolution of KSAK Center in the frame of which he is responsible for designing and managing curatorial projects and programs. After completing the Curatorial Programme he returned to Chisinau where he designed and managed the project RO-MD/Moldova in Two Scenarios (2008) that, by juxtaposing, investigates the current cultural, social and political situation in two Moldova regions. His most ambitious curatorial endeavor up to date is CHIȘINĂU – Art, Research in the Public Sphere (completed in 2010), which aimed to explore the dominant institutional and political discourses that have shaped the society and the urban landscape of the city of Chisinau in the course of its recent history.
In 2010 he attended the residence at Centre International d’Accueil et d’Echanges des Récollets, Paris where he realised – Drifting Identity Station (curatorial research project), in the same year he was awarded a CEC Artslink Fellowship and completed the residence at Graduate Program in Curatorial Practice of California College of the Arts in San Francisco.

was recently named (December 2011) the artistic director of the Kunstverein Göttingen. She has worked as a freelance curator, arts writer and translator and is based in Berlin.

(1977, Benevento, I). Angela is an independent curator based in Amsterdam. Among her recent projects: “Contemporary Passages: temporary roots and interweaving paths” as guest-curator at TENT. Rotterdam (March-July 2007); solo show of Ursual Mayer for Impakt festival, Centraal Museum Utrecht (March-May 2007) and co-curated the project “Beauty Unrealized”, at PSWAR, Public Space With a Roof, Amsterdam (December 2006-June 2007) and “Catalyst”, de Brakke Grond, Amsterdam (July-June 2006)[together with T.Giblin]. She completed De Appel Curatorial Training Program in April 2006 with the collaborative exhibition “Mercury in Retrograde”. Before joining De Appel, Angela has curated “Beautiful Nature” (Premio Mauro Manara, Bologna, 2005); “Conflitto,conflitti” (Villa Serena,Bologna,2005); “Qui.NewRelease” (Gamec, Bergamo 2004) as member of Synapser, collective of Italian young curator. And different events and film-screening in Siena, Bologna, Napoli. Angela graduated with honors in Mass Communication at the University of Siena(It) in 2003. She started her professional career at Galleria Continua (San Gimignano, SI), where she worked as gallery-assistant for the period 2001- 2002.

(b. 1980, Estonia) is an independent curator based in the forests of Estonia. She graduated from the Institute of Art History at the Estonian Academy of Arts in 2003. Since 2000, she has contributed to a number of magazines in Estonia and elsewhere, and curated shows in Estonia, as well as in Amsterdam, Lisbon, New York, Riga, and Warsaw. In 2004-2008 she ran and moderated her experimental project space ‘Rael Artel Gallery: Non-Profit Project Space’. In 2007 she initiated “Public Preparation”, a platform for knowledge-production and network-based communication, which since the beginning of 2008 has focused on issues of nationalism and contemporary art in Europe in the format of international meetings. She is an artistic director of festival of contemporary art ART IST KUKU NU UT in Tartu, Estonia. More info about the project could be found at www.publicpreparation.org and www.artistkukunuut.org.

(b. 1978, Germany) works as an art historian and curator. From 2007 to the end of 2011 she was co-director of the Kölnischer Kunstverein together with Anja Nathan-Dorn. At the Kölnischer Kunstverein they realised exhibitions with the artists Judith Hopf, Mark Leckey, Michael Krebber, Seth Price, Nora Schultz, Alexandra Bircken, Melanie Gilligan, Simon Denny, Kerstin Brätsch & Das Institut and many others. Before 2007 Kathrin Jentjens has been running the artist-in-residence programme of Projekt Just in Düsseldorf and has been working as a freelance curator for the project space kjubh in Cologne. She has worked with artists like Wolfgang Breuer, Lucie Stahl, Ulla Rossek, Alex Müller among others. She is currently working as a freelance curator and critic in Düsseldorf.

(b. 1978, Strasbourg) is a freelance curator and art critic. She was a curator at the Palais de Tokyo from 2002 to 2007, then the artistic director of the PinchukArtCentre in Kiev from 2007 to 2009. In 2006 she was an associate curator of the Busan Biennial. Between 2007 and 2009 she cocurated, with Jelena Vesic, the project No More Reality, crowd, performance and reenactment, in Belgrade, Amsterdam and Istanbul. She recently organized the exhibitions “La Fabrique sonore, Expérience Pommery#9” (Reims, 2011) and “Transaction Abstraite, Charles Atlas, Mika Tajima” (New Galerie, Paris, 2011). She is one of the associate curators of the 2012 Triennale, “Intense Proximity” (artistic director: Okwui Enwezor). She contributes regularly to several publications specialized in contemporary art.

(Belgrade, 1974) graduated as an art historian from the Faculty of Philosophy at Belgrade University in 2003. From 1995 through 1999, she contributed to several art magazines and radio programmes. Since 1998 she works as a freelance curator. In July 2004, Vesic was curator at the Yugoslav Biennial of Young Artists in Vrsac.

Huib Haye van der Werf was in 2022 interim-directeur bij de Appel in Amsterdam. Daarvoor initieerde/leidde hij samen met Radna Rumping mistral in Amsterdam, een organisatie gewijd aan archieven en overvloed. In 2019 werd hij benoemd tot curator van de Yinchuan Biënnale 2020 in China (geannuleerd vanwege Covid-19). Van 2013 tot 2020 was hij hoofd van het artistieke programma aan de Jan van Eyck Academie in Maastricht. Verder werkte hij van 2012 tot 2014 als oprichter/curator voor TAAK, een internationale organisatie voor sociaal-artistiek opdrachtgeverschap; van 2011 tot 2012 als curator voor de Stichting Kunst in de Openbare Ruimte (SKOR); en van 2008 tot 2011 als curator voor het Nederlands Architectuurinstituut (NAi) in Rotterdam (nu Nieuwe Instituut). Hij schrijft ook fictie en kinderverhalen, levert bijdragen aan tijdschriften als Artforum, Metropolis M, Mousse Magazine, Manifesta Journal en Open, en schreef voor verschillende kunstenaarspublicaties en film-/performanceproducties. Hij heeft een podcastserie genaamd The Listening Tide die hij host in zijn woonkamer in Amsterdam, waar hij ook parttime vader is van een tienjarige.

(Stockholm, 1975) is an independent curator and and Professor of Contemporary Art at Tromsö Academy of Contemporary Art. She is currently a guest researcher in the Living Archives research project at Malmö University www. livingarchives.mah.se. Recently she directed Espacio de Arte Contemporáneo at Museo de Arte Moderno la Tertulia in Cali Colombia. She has done extensive worldwide projects of urban interventions and citizen engaged exhibitions. Her current research focuses on artistic practices and urban planning.

(The Netherlands) is an art critic. She works as assistant curator at BAK (Basis voor Actuele Kunst) in Utrecht and lives in Amsterdam.

(b. 1977, South Korea) has been director of Casco – Office for Art, Design and Theory since the summer of 2008. She has been running Casco’s cross-disciplinary programme, which focuses on the construction of social space and issues of collaboration, collective production and the common vis-à-vis the contemporary, social and political condition. Choi has also been developing a long-term “living research” project The Grand Domestic Revolution – User’s Manual at Casco in collaboration with Maiko Tanaka and Group Affinity, a summer school and exhibition, at Kunstverein München with Bart van der Heide. Prior to Casco, she worked as part of the curatorial team at BAK, basis voor actuele kunst in Utrecht. Choi is member of the faculty at the Dutch Art Institute / ArtEZ and she is a founding member of Electric Palm Tree, a platform for research and meetings, triggered by the presence of electric palm trees in South Korea, Japan, Indonesia and the Netherlands.

(USA) works as a curator at The Asheville Art Museum in North Carolina.

(France, 1980 – The Netherlands, 2004)

 (b. 1974, Denmark) is currently curating the traveling group exhibition “Never odd or even – a text spaced exhibition”, in Grimmuseum, Berlin, and Museum of Contemporary Art, Roskilde, DK. She recently curated the 4th Fotofestival Mannheim Ludwigshafen Heidelberg with Katerina Gregos, in 7 art institutions presenting 60 artists. The title was “The Eye is a Lonely Hunter- Images of Human kind” and the exhibition presented lens-based media – photography and film. Amongst the institutions were Wilhelm-Hack Museum, Kunsthalle Mannheim and Heidelberger Kunstverein. Apart from that she curated a group exhibition on the role of craftsmanship in contemporary art, “Folklore – Old new Forms”, at Kunsthalle Møn44, Møn, DK. Other selected activities: She is board member of the festival organisation “Golden Days”, Copenhagen and teacher at NODE Centre for Curatorial Studies, Berlin, DE.

(Mexico) is currently chief curator at Museo de Arte Carillo Gil in Mexico city. Before this he worked as a freelance curator and he worked as assistant curator for the Manifesta 5 in San Sebastian. He lives in Mexico city.

(Italy) has a degree in Art History and Cinema Studies, and has written about the relation between filmic media, visual arts and experimental music. Since the late 90s he has arranged specific projects related to audiovisual programmes, performance events, public meetings and discussions. Since 1999, he has organised film & video programmes devoted to the visual arts and moving images for the Castello di Rivoli Contemporary Art Museum, usually as a joint project with the Cinema National Museum, Torino. Recently, he has published essays on the historical connections between early performance, video art and experimental dance. He has curated shows and performance events for the City of Torino and the Piedmont Region. He is currently cataloguing the video collections of the Castello di Rivoli.

(b. 1973, Hungary) is a freelance curator and critic based in Berlin and Budapest. Between 2009 and 2007 she has been the director of the Contemporary Image Collective CIC, Cairo. From 2004 till 2007 she was curator of the Mucsarnok/Kunsthalle, Budapest. Before that she was the Director of the Studio of Young Artists Association Gallery in Budapest, which is an exhibition space and organisation focusing on establishing and fostering connections with foreign partner institutions. Edit is a member of AICA (Association Internationale de Critiques d’Art) and has a BA in Art History from Eötvös Lóránd University. She earned a MA in Art History in 1998 and a MA in Aesthetics and Theory of Art in 2005 from Eötvös Lórónd University, Budapest. In 2003 she was awarded a Kállai Erno grant for critics from the Hungarian ministry of culture. She has been a contributor to the contemporary art magazines Balkon, Exindex. Since 2010 she has been the Berlin correspondent of the art magazine Műértő. Recent curatorial projects include the “Fear in the Black Box” (with Marcel Schwierin) in Trafó Gallery, Budapest (2011), co-curating the project “Indicated by Signs” Bonner Kunsthalle, Bonn (2009), PhotoCairo4: The Long Shortcut, (with Aleya Hamza) Cairo, (2009),”Tales around the Pavament chapter 1-2″ Cairo (2008) and ‘Dreamlands Burn’ at Mucsarnok/Kunsthalle (with Lívia Páldi). Together with Aleya Hamza she founded in 2009 the curatorial collective called HAMZAMOLNAR and their recent project is the publication: Indicated by Signs – Contested Public Space, Gendered Bodies, and Hidden Sites of Trauma in Contemporary Visual Art Practices which was launched in January 2011.

(Egypt) is a freelance curator from Cairo, based in Brussels. She was from 2007-2012, the director of Objectif Exhibitions in Antwerp, where she curated a programme of solo shows by Guy Ben-Ner (IS), Mariana Castillo-Deball (MX), Michael Stevenson (NZ),Hassan Khan (EG), Michael Portnoy (US), Norma Jeane and Tim Etchells (UK), and Patricia Esquivias (ES), Barbara Visser (NL), amongst many others. She recently edited and co-edited several publications including From Berkeley to Berkeley (2011), After Berkeley (2012), Circular Facts (2011) and Hassan Khan “The Agreement” (2011), all from Sternberg Press, and she has written most recently for Artforum and Mousse Magazine.

(1976, Ljubljana) is an independent curator and critic. She graduated in Art History and Comparative Literature from the University of Ljubljana. She has finished her Master studies at EHESS where since 2006 she is a PhD candidate. She has published articles on contemporary and new media art in catalogues and in NU: The Nordic Art Review, Stockholm, Springerin, Vienna, Arco Magazine, Madrid, Acoustic Lab Readet, Riga, Frakcija, Zagreb, Framework, Helsinki and Arteliet, Bucharest. She is a contributing editor of ARTMargins.com. In 2003 she worked as assistant curator for the exhibition In the Gorges of the Balkans at the Museum Fridericianum, Kassel, curated by Rene Block. In 2002 she participated in the Curatorial Training Programme at De Appel Foundation in Amsterdam, where she co-curated Haunted by Detail. In 2001 she was assistant curator of the Slovene pavilion at 49th Venice Biennial. She has curated the exhibitions Open Beats (2003, Bezigrad Gallery, Ljubljana), Our House Is A House That Moves (2003, Pavelhaus, Laafeld, Austria; 2004, Skuc Gallery, Ljubljana), You Are Not Alone (2002, Pavelhaus, Laafeld, Austria), Sound in Art (2001 , Gallery Priestor, Bratislava) and a series of electronic sound art events RE-LAX (2001-2002, Ljubljana, together with new media artist Marko Peljhan). Within the frame of Peljhan’s art organisation Projekt Atol, she co-founded the label for experimental electronic music, rx:tx. Since 2002 she has been a member of the jury for intermedia arts at the Ministry of Culture of Republic of Slovenia, and since 2000 a member of the Slovene Society of Aesthetics. Currently she is organising, together with Gregor Podnar, a conference about cultural policies and the art market in Central and South Eastern Europe (Museum of Modern Art, Ljubljana), and is the coordinator of the Skuc Gallery’s commercial activity. In 2006 she worked within the curatorial assistance for the 4th Berlin Biennale with an Ifa-Rave scholarship, conceiving and leading an international seminar on contemporary curating in collaboration with Goethe Institute and Allianz Stiftung. In 2007 she has co-curated a large-scale research-based project ‘Société Anonyme’ at Le Plateau in Paris. In 2008 she is the guest curator of the exhibition at the transmediale 08 festival, taking place at Haus der Kulturen der Welt in Berlin.

(b. 1970, Istanbul) studied Literature and Graphic Design (MFA in Graphic Design and Ph.D. In Art, Design and Architecture at Bilkent University). Senova is the editor of various publications and books and was the curator of the Pavilion of Turkey at the 53rd Venice Biennale (2009); lectured (Assist.Prof.Dr.) at the Faculty of Communication, Kadir Has University, Istanbul (2006-2010); currently, she co-curates UNCOVERED project in Cyprus and works as the curator of the Zorlu Center Collection.

Since October 2007 Nikola Dietrich (b. 1972, Germany) has been the programming curator of Museum für Gegenwartskunst in Basel where she has been curating the group exhibitions Above-the-Fold, Little Theatre of Gestures, as well as solo presentations with Hannah Villiger, Enrico David, Monica Bonvicini, Tom Burr, Francis Alÿs, Rodney Graham, Kirstine Roepstorff, Pierre Huyghe, Henrik Olesen, Edgar Arceneaux, Karlheinz Weinberger, Tim Rollins & K.O.S. amongst others. She is also co-founder of the recently opened project space ELAINE in Basel, operating an independent program of art events.

(b. 1971, Netherlands) is a curator based in Amsterdam. After participating in the De Appel Curatorial Training Programme (2000-2001) she worked as an independent curator in collaboration with various artists-run spaces and other cultural organisations such as Bureau Venhuizen in Rotterdam. She subsequently became assistant curator to Maria Hlavajova at BAK, basis voor actuele kunst in Utrecht, NL (2002-2003). Between 2004 and 2006 she organised various projects as an independent curator, including Hidden Rhythms, an exhibition at Museum Het Valkhof and Paraplufabriek, Nijmegen. Participating artists included Yael Bartana, Susan Philipsz, Mladen Stilinovic, Mark Titchner, Richard Venlet; Ritualizing, an interdisciplinary series of lectures, screenings and performances organised for the MA Visual Arts programme of the Piet Zwart Institute, hosted by Witte de With/TENT, Rotterdam. Guests included Professor of Media and Communications Nick Couldry, Professor in Ritual Studies Ronald Grimes, Professor of Social Anthropology Sharon Macdonald, artist Lisl Ponger, cultural theorist Laura U. Marks, artist Lindsay Seers. From to 2007 to 2010 she was Head of Exhibitions at SMART Project Space, where she curated numerous solo and group exhibitions, artist talks and related events such as A Number of Worlds Resembling Our Own; Forward! On the revitalisation of modern architecture; Usable Pasts, Concerted Forgettings; Field Work 1 and 2; On Joy Sadness and Desire. From 2007 De Bruijn is a member of the Advisory Committee for the Netherland Film Fund (experimental film) and of the Advisory Committee for Visual Arts, Design and Architecture, for the City of Utrecht where she worked on newly commissioned work with artists Ken Lum, Nathalie Bruys and Tod Hanson. From 2011 De Bruijn is curator for the Cobra Contemporary Programme at the Cobra Museum, Amstelveen, and working on various projects as an independent curator and advisor including Reviewing the Caption, two expert meetings and a publication by artist-duo Lonnie van Brummelen & Siebren de Haan.

(Austria/USA) is a curator and an art historian. She received her PhD in Art History from the University of Vienna, Austria on Performance: ‘Documents Between Action and Spectator. Babette Mangolte and the Historization of Performance Art’ in 2010 and is currently a guest professor at the Département d’histoire de l’art der Université du Québec in Montreal, Canada. She has since 2004 been a researcher and fellow at the IFK (International Reserachcenter for Cultural Studies) in Vienna, the Cinema Studies Department at New York University (2004 – 2006), as well as the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art at Concordia University in Montreal (2010). Next to her teaching at various art academies in Vienna and Copenhagen and Cooper Union and Bard College New York, she is a former participant of de Appel curatorial programme (2000/2001). Clausen has worked at Dia Art Foundation (New York) from 1997-2000 and at Documenta11 (Kassel). Amongst other film-screenings and exhibition projects she has curated the exhibition and performance series After the Act: The (Re)presentation of Performance Art (2005), the performance and lecture series wieder und wider / Again and Against(2006) and Push and Pull (2010/2011) the latter in collaboration with Achim Hochdörfer at the MUMOK Stiftung Ludwig, Vienna and Catherine Wood at TATE London, as well as most recently Down Low Up High Performing the Vernacular at Argos in Brussels (2011). She is currently organizing an exhibition and film retrospective on the work of Babette Mangolte for VOX, centre d’art contemporain and the Cinémathèque Québécoise in Montréal (2013).

is a curator, researcher, cultural advisor and Founding Director of aposteriori, a non-profit curatorial platform – researching, documenting, developing, producing and facilitating innovation in diverse contemporary art practices. Currently, she is developing a multi-year, multidisciplinary project on new forms of collaborations and connections between artistic zones in Africa and Canada. Her upcoming exhibition will focus on Photography and Video from Latin America and the Caribbean. Fontaine graduated in visual arts and arts administration from the University of Ottawa (Canada). Her ongoing research, “Evidence: Inter-documentation”, surveys Contemporary Visual art practices by Black artists, curators, critics, theorists and art historians as a response to a gap concerning the accessibility of updated material on diverse artistic propositions from Africa and its Diaspora. Since 1992, she has curated and organized several contemporary art events in Canada and abroad. Her recent curatorial projects included “Images, Imageries, Imaginaires” – International Photography Exhibition of the World Festival of Black Arts and Cultures, December 2010; “Forms and topographies: African Cityscape in flux”, 2009, Thessaloniki Biennale, Greece; “Moshekwa Langa: Unlimited”, Art Star Video Biennial, August 2005; “Zineb Sedira”, Art Star Video Biennial, July 2003. Dominique Fontaine lives in Montréal (Canada).

(Sofia, Bulgaria, 1974) lives and works in Leipzig, Germany. She attended the National Academy of Arts, Department of History of Arts and graduated with an MA in 1998. ln 2000-2001 she attended the Curatorial Training Programme of the De Appel Foundation, Amsterdam. Since 2003 she has been curator at the Galerie für Zeitgenössische Kunst Leipzig (Germany). In 2002-2003 she won a scholarship at the Galerie für Zeitgenössische Kunst Leipzig.

Born in Budapest, Lívia Páldi has been chief curator at the Mucsarnok / Kunsthalle Budapest from 2007 to 2011. She has organized numerous exhibitions, including “Other Voices, Other Rooms—Attempt(s) at Reconstruction. 50 Years of the Balázs Béla Studio,” Mucsarnok / Kunsthalle Budapest (2009); “Robert Capa,” Ludwig Museum – Museum of Contemporary Art, Budapest (2009); “The Producers,” Ernst Museum–Mucsarnok / Kunsthalle Budapest (2008); “Mircea Cantor: Future Gifts,” Mucsarnok / Kunsthalle Budapest (2008); “Deimantas Narkevicius: History Continued,” Mucsarnok / Kunsthalle Budapest (2007); “!REVOLUTION?” (with Ulrike Kremeier), Collegium Hungaricum, Berlin (2006); and “Dreamlands Burn,” Nordic Art Show 2006 (with Edit Molnár), Mucsarnok / Kunsthalle Budapest (2006). Páldi has edited several exhibition catalogues; she was a contributing editor of East Art Map magazine and book organized by the artist collaborative IRWIN in Ljubljana (2002–5). She is currently a doctoral candidate in the Institute for Art Theory and Media Studies at Eötvös Loránd University, Budapest. She is one of the curatorial agents of dOCUMENTA (13) and is director of the Baltic Art Center in Visby, Sweden.

was born in Maputo, Mozambique in 1973. ln 1999 he graduated in Fine Arts Sculpture from the Fine Arts School of Lisbon University. In the following year he did the Advanced Course of Contemporary Art at Maumaus School and worked as curatorial assistant for Antonio Cerveira Pinto at Galeria Quadrum in Lisbon. In 2000-2001 he did the Curatorial Training Programme at the DeAppel Foundation with a bursary from the Calouste Gulbenkian Foundation. Since 2001 he has been doing a PhD by practice in curation at the University of Dundee, where he lectures the module Professional Practice/Exposition. He is presently based between Dundee, Utrecht and Faro, and works as free-lance curator and writer. Amongst other projects he is working on Art Cup (Lisbon), A-Tipis (Ghent) and The Sculpture Show (Dundee).

(England, UK) is an independent curator, project manager and co-director of arts agency Kaavous-Bhoyroo (www.kaavous-bhoyroo.com). Jane is currently sculpture curator for the Arts Council Collection (2011-2012) and was previously a Visual Arts manager at Arts Council England (2004-2010). She was a curator at Anthony Reynolds Gallery, London between 2000-2004 and has also worked at Matt’s Gallery, London and as an assistant curator on East at Norwich Art Gallery. She has a Masters in British Art (1945-67) from the Courtauld Institute of Art.

(Perth, 1972) is exhibition manager at the Biennale of Sydney 2004. Curatorial projects include Slipstream: Visual Art Festival 2002 which included Multiplicity, Multiplicity, The Moores Building; Around now: Grace Weir, Kitsune: Joao Penalva; Apparitions: Matthieu Laurette, John Curtin Gallery; Elvis has just left the building: Roland Boden, Rodney Glick, Christian Hoischen, Danius Kesminus, Mattthieu Laurette, Louise Paramour, Marjetica Potrc, Antoine Prum, Jim Shaw, Ann-Sofi Siden, Ronnie van Hout, Perth Institute of Contemporary Art (co-curator ); Minus Monsters: Thea Costantino & Simon Pericich, Mandurah Art Gallery; Juvenate & Halfeti (only fish shall visit), FUEL Cafe & Bar at PICA, Visual Art Festival 2001 including Stan Douglas / Bill Viola, John Curtin Gallery (co-curator); do it, Lawrence Wilson Art Gallery (with Hans-Ulrich Obrist); Dwelling place / Mia mia: Valerie Takao Binder, Western Australian Museum (co-curator); Promised Land: Nien Schwarz, The Church Gallery (project manager); Plan B, 2000 De Appel, Amsterdam (co-curator): Alicia Framis, Asier Perez Gonzales, Daniel Garcia Andujar, Jens Haaning, Matthieu Laurette, Orgacom, Plamen Dejanov & Swetlana Heger, Superflex, 1999 25 songs on 25 lines of words on art statement for seven voices and dance: Joe Felber, Elliott Gyger & Lucy Guerin, Art Gallery of WA; Torn Apar’t, Art Gallery of WA (assistant curator).

(France, 1973) studied Art History in Montpellier and Milan. After three years working in galleries in London she participated in De Appel’s Curatorial Training Programme in Amsterdam. She was then appointed curator at Palais de Tokyo in Paris and, later, became Deputy Director of the Picasso museum in Antibes. She recently moved to Zurich where she now works as an independent curator and art critic. Her most recent projects include: Process, Maison Gregoire, Brussels; Dialogues, Centre regional d’art contemporain, Sète; Anna Adahl, Laetitia Benat, Philippe Terrier-Herman, Made in Paris, London; and Martin Boyce, Art:Concept, Paris.

(Netherlands) is a freelance curator. Work experience (selection): curator Beelden op de Berg, Wageningen (2003) / general assistant IKT / project manager photography and education, Federatie Kunstuitleen, Den Haag / curator exhibition Wild Gliders, Aschenbach & Hofland Galleries, Amsterdam.

(Luxemburg) is a freelance curator/writer/translator. Work experience (selection): Künstlerhaus Bethaniën, co-ordinator International Studio Programme, Berlin / Perth Institute for Contemporary Arts, WA / Casino Luxembourg-Forum d’art contemporain, Luxembourg.

(b. 1965, Spain) is an art historian, critic and curator. She has contributed to different publications, like Transversal, arts.zin, Untitled (London), NU: The Nordic Art Review (Stockholm), Tema Celeste (Milano), ARCO and Bonart. She has curated exhibitions at Apex Art (New York), Künstlerhaus Bethanien (Berlin), Joan Miró Foundation and “la Caixa” Foundation (Barcelona). She has been associated curator in Espai 13 of Joan Miró Foundation and Santa Monica Center for the Arts (Barcelona). Currently, she is co-director of A*DESK. Independent Institute of Criticism and Contemporary Art (www.a-desk.org) and artistic director of the contemporary art collection Cal Cego (www.calcego.com). Badia is member of AICA (International Assotation of Art Critics) , ACCA (Associació Catalana de Crítics d’Art), IKT (International Curators Association) and IAC (Instituto de Arte Contemporáneo).

(b. 1972, Italy) is director of the Art Center De Vleeshal in Middelburg (The Netherlands). He has been director of the art centre Volume! in Rome (2002 – 2006), founder and curator of the Sound Art Museum, Rome (2004), curator at the Museum Marta Herford, in Herford, Germany (2006-2008). In 2009 and 2010 he was guest curator at La Kunsthalle in Mulhouse, (France). Benedetti studied Art history at the University “La Sapienza” of Rome and attended the “Curatorial Training Programme” at De Appel Foundation in Amsterdam. Since the late nineties he curates contemporary art exhibitions with a special focus on topics like urbanism and architecture (Sonicity Corviale in Rome and Urban Interferences in Bruxelles) aiming to merge different disciplines like art, music, architecture and theory together in order to understand the aesthetic, social and functional values of specific urban areas. With the founding of Sound Art Museum in 2005 he created a specific space dedicated to understand aspects of sound in the field of visual art. The Museum hosts sound exhibitions and has an archive with more than 400 sound pieces. A special attention to the public and the diffusion of contemporary art outside the art institutions has been developed through poster project (3500cm2) and art editions projects.

(b. 1971) has been co-director of the Kölnischer Kunstverein since 2007, together with Kathrin Jentjens, participant of the CTP 2004/05. At the Kunstverein they realized exhibitions and projects with artists like Judith Hopf, Mark Leckey, Michael Krebber, Seth Price, Nora Schultz, Alexandra Bircken, Melanie Gilligan, Simon Denny, Kerstin Brätsch & Das Institut and many others. Before 2007 Anja Nathan-Dorn has been working as critic and curator. She has been writing for magazines such as Metropolis M, Frieze and Texte zur Kunst. She was a co-founder of the project-room April in Cologne, she has been working as gallery-director of Galerie Christian Nagel Cologne and she has realized several curatorial projects with artists and authors as Diedrich Diederichsen, De Rijke/de Rooij, Deimantas Narkevicius, Viola Klein, Stephan Geene and many others.

(Japan) is a curator for Akiyoshidai International Art Village Yamaguchi, Japan.

(Scotland, UK) is the director of Rob Tufnell, a commercial gallery in central London. He is a trustee of the Elephant Trust and continues to write, teach and work as a freelance curator. In the past he was the Director of Exhibitions at Modern Art, London and also worked as a consultant to the Scottish Arts Council.

(Netherlands) is a freelance curator and writer. Work experience (selection): Curator of Cargo Series, Loods 6, Amsterdam / BAK (Basis voor Actuele Kunst) / Trigger (pub.), Utrecht / Stedelijk Museum Bureau Amsterdam / University of Amsterdam / Sandberg Institute, Amsterdam / Articles for a.o. Metropolis M / Stedelijk Museum Bureau Amsterdam.

(b. 1969, Germany) studied art history and economics in Bochum. He worked for four years as curator at the Kunsthalle Fridericianum in Kassel and curated the 8th Baltic Triennial of International Art in Vilnius in 2002. From 2005 to 2008 Berger was the managing director and curator of the Para/Site Art Space in Hong Kong and he was the Chief Curator at the Nam June Paik Art Center in Korea from 2008 to 2010. Currently he is Managing Curator at M+, the new museum for Visual Culture in Hong Kong since December 2010.

(Milan, 1969) is a freelance curator and writer, currently based in Berlin and Milan. He graduated from Univesità Statale of Milan in History of Art Criticism. He attended the De Appel CTP in 1997-98. So far he has focused his research on the latest generations of Italian artists and on the politics and poetics of space, through texts and shows that he curated in very different contexts and venues. He is author of several essays on Italian and international artists for art magazines, catalogues and monographs. He is a regular contributor to Tema Celeste.

(Netherlands) is the head of visual arts at De VeenFabriek, Leiden. Work experience (selection): Assistant curator Witte de With, Rotterdam / General assistant IKT, Amsterdam / De Appel, Amsterdam / Montevideo TBA, Amsterdam.

(USA) is assistant curator at the Institute of Contemporary Art, PA and critic for Time Out, New York. Work experience (selection): Ph.D. Candidate Dept. Art History and Archeology Columbia University / curator Apex Curatorial Program, New York.

(Japan) is Chief Curator at the Hiroshima City Museum of Contemporary Art. Formerly she was Associate Curator at the New Museum of Contemporary Art, New York. Kamiya has been working as independent curator and organised exhibitions such as Luminous Mischief (Yokohama Portside Gallery, 1999), Freeze: images of Japanese by Sharon Lockhart and Miwa Yanagi (Espaço Cultural Sergio Port, Rio de Janeiro, Brazil, 2000), Territory: Contemporary art from the Netherlands (Tokyo Opera City Art Gallery, Tokyo, Japan, 2000), Spacejack! (Yokohama Museum of Art, Art Gallery, Japan, 2001), Fantasia (Space ima, Seoul, Korea, 2001 /East Modern Art Center, Beijing, China, 2002), Under Construction: New Dimension of Asian Art (Japan Foundation Forum + Tokyo Opera City Art Gallery, Tokyo, Japan, 2002-2003). She has also contributed catalogues and magazines internationally including Dark Mirrors of Japan (De Appel, 2000), Curator’s egg (Shiseido, Japan, 2003), Art Asia Pacific, Japanese newspaper Asahi Shinbun and others.

(Netherlands) is a freelance curator and writer. Work experience (selection): Centrum Beeldende Kunst, Dordrecht / SKOR, Amsterdam / TENT.CBK & MKGallery, Rotterdam / Slovak Union of the Arts, Bratislava / Royal Academy of Arts, The Hague.

(Brussels, 1969) is director of Mu.ZEE in Oostende. He studied at the University of Ghent, followed by the Curatorial Training Programme at De Appel in Amsterdam (1996-97). At De Appel, he organised film/video evenings, and oversaw production of several publications. From 1998 until 2001, he was director of Exedra, Centre for contemporary art, architecture and design in Hilversum (NL). He has coupled this from 2000 till end of 2001 with a visiting lectureship at the Academy of Art and Design in ’s Hertogenbosch, and was a member of the editorial team of Archis, magazine for architecture, city and visual culture. Since January 2002 he has worked as a curator at the Van Abbemuseum in Eindhoven and curated among others, exhibitions with Matthijs de Bruijne, Douglas Gordon, Joe Scanlan, Jennifer Tee, Erik Wesselo and the project No Ghost Just A Shell.

(The Netherlands) is also a curator and critic. Work experience (selection):artistic director of Kunst in Huis since 2013. Since 2006 curator at the Océ Art Foundation. Since 2011 coordinator at the Cera foundation’s programme Partners in Art (B). Past experience at W139 (public relations and general staff), Centraal Museum Utrecht (curator Panorama 2000, with others), Museum het Domein Sittard (curator, a.o. retrospective Ben D’Armagnac). Founding member of HTV de IJsberg. Texts written o.a. for Museumtijdschrift, Amsterdam / childrensbook on James Ensor, MuZee Oostende / photobook Schiphol Airport / Metropolis M, Utrecht / Rotterdamse Kunst Stichting, Rotterdam / SKOR, Amsterdam.

(Germany) is member of the board of directiors of the Stedelijk Museum Amsterdam. Work experience (selection): director of the Kunstverein für die Rheinlande und Westfalen in Düsseldorf, Museum Ludwig, Cologne, assistant curator / Haus Lange Haus Esters, Krefeld, assistant curator.

(Lithuania) is a curator and writer. He was a curator at the Contemporary Art Centre, Vilnius between 1995 and 2006. He works with The File Room and The So-Called Records; is guest advisor at Jan Van Eyck Academy, Maastricht; member of curatorial board of Museo de Arte, Sacramento; and researches issues of copyright, remixology and media. His recent projects include psychic interview with George Maciunas (1934-1978), Bi-Fi series of events (New York City), 24/7: Wilno – Nueva York (CAC Vilnius), and Elektrodienos: unidentified audio object (CAC Vilnius).

(Austria) is a freelance curator. Work experience (selection): Depot, Vienna / Kulturamt, Kunstverein für die Rheinlande Westfalen, Düsseldorf / Kunst am Bau im Krankenhaus Meran, Meran / Transmitter Festival, Hohenems.

(Finland) is the Executive Director of IHME Contemporary Art Festival since its founding in 2007. She has Master of Arts degree in Art History and participated in the Curatorial Training programme of De Appel Foundation in 1996-97. She was the Curator of Frame Finnish Fund for Art Exchange 1998-2007 and is thus a curator of several Finnish and international exhibitions in Finland and abroad. She has also contributed to Siksi, Taide and Framework magazines. As the Executive Director of IHME Contemporary Art Festival she has produced large-scale art commissions in the public space in collaboration with Antony Gormley, Susan Philipsz, Superflex and Christian Boltanski. Along with the public project the festival consists out of the three -day-forum called IHME Days with lectures, discussions, screenings of artists´ films, art education and workshops.

(Ireland) is currently Chief Curator at the Van Abbemuseum, Eindhoven, and tutor at de Appel, Amsterdam. Recent exhibitions include solo presentations and projects with Htio Steyerl, Jo Baer, Jutta Koether, Cerith Wynn Evans, Deimantas Narkevicius, Minerva Cuevas and the long term project, “Be(com)ing Dutch” with Charles Esche (2006–2009). She was co-founder and co-director of the rolling curatorial platform “If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution” with Frederique Bergholtz (2005–2010), and Co-Curator of Cork Caucus with Charles Esche and Art / not art (2005). As a writer she has contributed to various magazines including “Afterall” and “Metropolis M”, and is currently on the editorial board of “A Prior” magazine. She has worked on monographic exhibitions of David Maljkovic (2012) and Sheela Gowda (2013) for the Van Abbemuseum and has been appointed as the curator for the Eva International in May 2012.

(Netherlands, 1969) is an independent curator, editor and advisor, based in Amsterdam. After graduating with honours in Art History from the University of Amsterdam, she completed the Curatorial Programme of de Appel in 1996. Since then she has worked both as an independent and employed curator in a number of different contexts. In 1997, she stayed in Johannesburg (South Africa) for 3 months where she served as an assistant to the Artistic Director Okwui Enwezor and his co-curators at the 2nd Johannesburg Biennale. Two years later, she coordinated a comprehensive seminar together with Okwui Enwezor for the National Museum of Ethnology in Leiden. In 2003, she initiated a new project space in Amsterdam, called Quarantine Series, a small-scale institution that presented a dynamic and internationally oriented programme of solo exhibitions, music performances, screenings and debates. In 2006, she moved to Ghent (Belgium) to work as guest curator for 3 years at the S.M.A.K., Stedelijk Museum voor Actuele Kunst. In 2010, she was appointed as the Artistic Director of the 3rd international Madness & Arts Festival, a multi-disciplinary festival about art and psychiatry that took place in Haarlem, The Netherlands. Folkersma also has a curriculum as an art critic and editor. she regularly contributes to Metropolis M – the leading Dutch magazine on contemporary art, of which she was also an editor for many years – and other art magazine and catalogues. At the moment Folkertsma is curator of De Grote Kunstshow (The Big Art Show), a unique show that uses the theatre to bring contemporary art to the limelight in a different and appealing way. I am also a member of the advice committee of the Kunst Noord/Zuidlijn in Amsterdam and the chair of the board of ArtTable Nederland.

(South Africa) is board member of Visual Arts Network of South Africa. He was director of the Johannesburg Art Gallery. He has curated several international exhibitions, including theFoto Biennale Rotterdam (2000); Five Continents and One City, Mexico (1999); and Videobrasil, Sao Paulo (2000). Conference papers include Transafrica, Brussels; Havana Bienal, Museum of Modern Art, Sao Paulo. Kellner was a member of the senior staff of the Johannesburg Biennale, assistant to Okwui Enwezor, and coordinator for Ubuntu 2000, initiated by the Rockefeller Foundation. He was founding director of Camouflage, a non-profit gallery and magazine in 1999. He was coordinator to the National Arts Council of South Africa and the British Council on Connecting Flights, New Cultures of the Diaspora.

(USA) is currently director of APT:London. She was co-curator of the Scottish pavilion at the Venice Biennale of 2003. Work experience (selection): Scottish Arts Council and Arts Council of Wales, Glasgow / Gagosian Gallery, New York. Exhibition Director at the Gagosian Gallery.

(b. 1970, Poland) is artistic director of Documenta (14) in 2017. He was the director and chief curator of Kunsthalle Basel between 2003 – 2014, where he organized exhibitions including Rosalind Nashashibi: Over In (2004); Tomma Abts (2005); Gustav Metzger: In Memoriam and Lee Lozano: Win First Don’t Last Win Last Don’t Care (both 2006); Micol Assaël: Chizhevsky Lessons (2007); Danh Vo: Where the Lions Are (2009); Moyra Davey: Speaker Receiver (2010) and group shows Report on Probability (2009), Strange Comfort (Afforded by the Profession) (with Salvatore Lacagnina, 2010) and How to Work/How to Work (More for) Less (2011). In 2008 he co-curated with Elena Filipovic the 5th Berlin Biennial for Contemporary Art under the title When Things Cast No Shadow. He is a Member of the Board of the Museum of Modern Art in Warsaw. In 2011, he received the Walter Hopps Award for Curatorial Achievement at the Menil Foundation in Houston.

(Netherlands) works as a chairperson for GOOV Muziektheater in Groningen.

(Belgium) is a writer, editor and documentary filmmaker. Work experience (selection): documentary film maker Argos film, Brussels / articles for De Standaard, Brussels. Currently he is a teacher at the School of Arts KASK (Koninklijk Conservatorium) in Ghent.

(Netherlands) received her PhD at Columbia University in 2009 after completing her dissertation “The Problem of Media in Contemporary Art Theory (1960-1990).” Currently, she is a lecturer at the Department of Media Studies: New Media & Digital Culture, Universiteit van Amsterdam.

(Sweden) is deputy director of the Rooseum Center for Contemporary Art in Malmö. Work experience (selection): Rooseum, Malmö / Paletten Art Magazine, Gothenburg / Louisiana Museum of Modern Art, Humlebaek.

(Zimbabwe/France) is curator / researcher of exhibitions at Jeu de Paume, Paris. From 2007 until 2014 she was the director of Centre Régional de la Photographie Nord – Pas-de-Calais, Douchy-les-Mines. Other work experience (selection): La Criée, Centre d’art contemporain, Rennes / De Appel arts centre, Amsterdam / Centre International d´art et du paysage, Île de Vassivière.

(Germany) is founder and partner of EYEOUT, the mobile art guide. From 2004 to 2008 he was founder and owner of Galerie Jan Winkelmann in Berlin and from 1997 to 2003 he was senior curator at the Galerie für Zeitgenössische Kunst in Leipzig.