Chus Martínez

Born in Spain, Chus Martínez is a curator, writer, and academic with a background in philosophy and art history. She is currently Head of the Institute Art Gender Nature at the Basel Academy of Art and Design FHNW in Switzerland and serves as Associate Curator at TBA21 (Thyssen-Bornemisza Art Contemporary) in Madrid and Venice. She also served this year as Artistic Director of the 36th Ljubljana Biennial of Graphic Arts.

Martínez is a board member of CIMAM (International Committee for Museums and Collections of Modern Art) and sits on advisory boards of several international institutions, including Castello di Rivoli in Turin and the Deutsches Historisches Museum in Berlin. Her previous roles include Chief Curator at El Museo del Barrio, New York; Head of Department at dOCUMENTA (13); Chief Curator at MACBA, Barcelona; and Director of the Frankfurter Kunstverein.

Known for her critical and experimental curatorial practice, Martínez has developed numerous exhibitions and projects in collaboration with contemporary artists worldwide. She writes regularly for international journals and contributes essays and texts to exhibition catalogues and books.

Diana Campbell

Diana Campbell is the Artistic Director of the Dhaka-based Samdani Art Foundation in Bangladesh and the Chief Curator of Dhaka Art Summit, having led its critically acclaimed editions from 2014 to 2023, and is currently envisioning the 7th edition. She is the Head of Global Initiatives of the Hartwig Art Foundation and was the Artistic Director of the inaugural edition of the Bukhara Biennial launched in 2025. Campbell writes extensively on indigeneity, art, and architecture.

Sohrab Mohebbi

Sohrab Mohebbi was appointed Director of SculptureCenter in 2022. He served as the Kathe and Jim Patrinos Curator of the 58th Carnegie International, Pittsburgh, 2022-2023. Mohebbi has also served as SculptureCenter’s Curator-at-Large (2020-2021), and as Curator (2018-2020). Before joining SculptureCenter in 2018, he was associate curator at REDCAT in Los Angeles and curatorial fellow at the Queens Museum. He is an advisor at the Rijksakademie in Amsterdam and has organized exhibitions and programs for the Walker Art Center, Minneapolis, MN; High Desert Test Sites, Joshua Tree, CA; SALT, Istanbul; and the Center for Historical Reenactments, Johannesburg, South Africa. He received an MA from the Center for Curatorial Studies at Bard College and a BFA in photography from Tehran Art University. 

Aaron Cezar

Aaron Cezar is the founding Director of Delfina Foundation based in London, where he develops, curates and oversees its interrelated programme of residencies, exhibitions and public platforms. Over the last 12 years, Aaron has positioned Delfina Foundation as a meeting point and incubator of creative talent, forming partnerships with leading institutions internationally. In addition to directing Delfina Foundation's programmes, Aaron has curated external exhibitions, performances and programs at Hayward Gallery Project Space, SongEun Artspace, ArtBo, and Art Dubai, to name a few amongst many others. Aaron has written for acclaimed publications including, but not limited to, The Art Newspaper, Harper’sBazaar, and ArtAsiaPacific. In 2019, together with Dani Burrows, he edited the book Politics of Food stemming from Delfina Foundation’s popular programme. Aaron is Advisor-at-Large at Art Jameel, one of Delfina Foundation’s strategic partners, and he has been appointed to numerous boards, committees and advisory groups. In 2017, Aaron was awarded an Honorary Fellowship from the Royal College of Arts, London.

Sam Bardaouil & Till Fellrath

Sam Bardaouil and Till Fellrath are Founders and Directors of the multidisciplinary curatorial platform artReoriented, launched in 2009 in New York and Munich. They are Curators of the Lyon Biennale in 2022, and Affiliate Curators at Gropius Bau in Berlin and are appointed as New Directors for the Hamburger Bahnhof in Berlin as of 1 January 2022. From 2016 until 2020 they were Chairmen of the Montblanc Cultural Foundation in Hamburg. They held teaching positions at various universities including the Tisch School of the Arts at NYU, the Shanghai Academy of Fine Arts, and the Academy of Fine Arts in Nuremberg. In 2016 they were curatorial attachés for the Biennale of Sydney. At the Venice Biennale, they were Curators of the National Pavilions of Lebanon in 2013, the United Arab Emirates in 2019, and are Curators of the French Pavilion in 2022.
Bardaouil and Fellrath founded artReoriented to rethink traditional models of cultural engagement. Central to their work is inclusivity in artistic and institutional practices, and a revisionist approach to art history. They are internationally recognised curators and award-winning authors whose practice is rooted in global contemporary art, as well as in the field of modernist studies. The diversity in their cultural and academic backgrounds underlines their inherently collaborative model. Bardaouil, born in Lebanon, holds an MFA in Advanced Theatre Practice and a PhD in Art History. Fellrath, born in Germany, holds two Master’s degrees in Economics and Political Science. As an independent voice, Bardaouil and Fellrath have curated exhibitions and collaborated with more than 70 institutions worldwide, including Centre Pompidou in Paris, Villa Empain in Brussels, Kunstsammlung NRW in Dusseldorf, Tate Liverpool, ARTER in Istanbul, Gwangju and Busan Museums of Art in South Korea, Saradar Collection in Beirut, Mathaf: Arab Museum of Modern Art in Doha, SCAD Museum of Art in Savannah, Moderna Museet in Stockholm, and Reina Sofia in Madrid.

Kate Fowle

Kate Fowle is the senior curatorial director at Hauser & Wirth. She was the director of MoMA PS1 in New York between 2019-2022. From 2013-2019 she was the inaugural chief curator at Garage Museum of Contemporary Art in Moscow and director-at-large of Independent Curators International (ICI) in New York, where she was the executive director from 2009-13. Before this, she was the inaugural international curator at the Ullens Center for Contemporary Art in Beijing (2007-08). In 2002, she co-founded the Master’s Program in Curatorial Practice for California College of the Arts in San Francisco, for which she was the Chair until 2007. Before moving to the United States, Fowle was co-director of Smith + Fowle in London from 1996-2002. From 1994-96 she was curator at the Towner Art Gallery and Museum in Eastbourne, East Sussex. Fowle’s recent projects include solo exhibitions with David Adjaye, Rasheed Araeen, John Baldessari, Sammy Baloji, Louise Bourgeois, Marcel Broodthaers, Urs Fischer, Rashid Johnson, Irina Korina, Robert Longo, Anri Sala, Taryn Simon, Juergen Teller, and Rirkrit Tirivanija, as well as extended essays on Ilya Kabakov, Sterling Ruby, and Qiu Zhijie, and numerous extended articles on curating and exhibition histories. Fowle has written three books: Exhibit Russia: The New International Decade 1986-1996 (2016); Rashid Johnson: Within Our Gates (2016); and Proof: Francisco Goya, Sergei Eisenstein, Robert Longo (2017). 

Defne Ayas

Defne Ayas is the Director of Witte de With Center for Contemporary Art since 2012. Before moving to Rotterdam, Ayas worked between New York and Shanghai, where she initiated a partnership with Prince Claus Fund – co-founded Arthub Asia in 2007, an Asia-wide active research and production initiative. The curator at large at Performa – the biennial of visual art performance of New York City– she has been organizing acclaimed projects and programs with an international roster of artists, architects, curators, critics, and writers from across the world since 2005. Ayas also acts as a Curator-at-Large to Spring in Hong Kong and as an advisor to Blind Dates Project – an artistic platform that is dedicated to tackling what remains of the peoples, places and cultures of the Ottoman Empire (1299-1923), which she co-founded in 2006. In 2012, Ayas co-curated the 11th Baltic Triennale to great acclaim. Ayas completed De Appel Curatorial Programme in Amsterdam and received her BA in Foreign Affairs at the University of Virginia.

Bruce W. Ferguson

Bruce W. Ferguson has been an art curator, critic and academic administrator and has extensive management experience in both arts and academic organizations. At present he is Vice Chairman of LB Media in New York, a print and online publishing company. He has been the Dean of the School of Humanities and Social Sciences at the American University in Cairo, Egypt and served as the Dean of the School of Arts at Columbia University as well as President and Executive Director of the New York Academy of Art. He has curated exhibitions for institutions from the Louisiana Museum in Copenhagen to the Institute of Contemporary Art in Boston. He also organized exhibitions within the international biennales of Sao Paulo, Sydney, Venice and Istanbul. Ferguson was the founding director and curator of Site Santa Fe in New Mexico where he articulated a vision for an international art biennial that now has a successful 20-year history and is central to the city's identity.

Christine Tohmé

Christine Tohmé is an independent curator and co-founder/director of Ashkal Alwan – The Lebanese Association for Plastic Arts, a non-profit arts organization established in 1994. Over the past 20 years, the association has committed itself to production, research and diffusion in contemporary artistic and intellectual practices. In 2011, the organization opened a 2,000m² multidisciplinary space aimed at providing an educational hub for the region. Ashkal Alwan’s platforms include: Home Works, a forum on cultural practices; Home Workspace Program (HWP), a free annual arts study program; Video Works, a support program for video production in Lebanon; artist residencies in Lebanon and abroad; a multimedia library and archive of local cultural practices; publishing critical, artistic and literary works; curated projects; production facilities and grants; and public programming and workshops.

Fulya Erdemci

Fulya Erdemci is a curator and writer based in Istanbul and Amsterdam. Erdemci was curator of the 2011 Pavilion of Turkey at the 54th International Art Exhibition, Venice Biennale. Since 2008 she has been Director of SKOR (Stichting Kunst en Openbare Ruimte) Foundation For Art and Public Domain in Amsterdam, her projects at SKOR include: ‘Morality Wall’, four facade projects in collaboration with Witte de With, Rotterdam, 2010; ‘Actors, Agents and Attendants’, international research, symposium and publication series, the first edition, ‘Speculations on the Cultural Organisation of Civility’ was co-curated with Andrea Philips and Markus Miessen in 2010, and the second edition ‘Social Housing-Housing the Social’ (Amsterdam 2011) with Andrea Philips. Prior to this, she was among the first directors of the International Istanbul Biennial (1994-2000). She was director of Project 4-L in Istanbul (2003-2004) and worked as temporary exhibitions curator at Istanbul Modern (2004-2005). She was invited to curate the ‘Istanbul’ section of the 25th Biennale of Sao Paulo ‘Metropolitan Iconographies: Citades/Cities’ in 2002 and joined the curatorial team of the 2nd Moscow Contemporary Art Biennial ‘Footnotes on Geopolitics, Market and Amnesia’ (2007). Erdemci initiated the ‘Istanbul Pedestrian Exhibitions’ in 2002, the first urban public space exhibition in Turkey that centred on the “pedestrian”.and co-curated the second edition in 2005 with Emre Baykal. In 2008 Erdemci co-curated SCAPE “Wandering Lines: Towards A New Culture of Space”, the 5th Biennial of Art in Public Space in Christchurch, New Zealand with Danae Mossman, presenting the work of 25 international artists throughout the urban spaces of Christchurch city. Erdemci also functions as member of advisory and selection committees member, the most recent ones include: “The International Award for Excellence in Public Art” on “Place-making” initiated by the Public Art (China) and Public Art Review (United States) Shanghai, May 2012, 12th International Cairo Biennial, Cairo, 2011 and Curatorial Programme ‘10/’11 and ‘09/’10, De Appel arts center, Amsterdam. Erdemci has taught at Bilkent University (1994–1995), Marmara University (1999–2000) and at Istanbul Bilgi University, MA Programme in Visual Communication Design (2001–2007). Recently, she has been named the Laurie Chair at Rutgers University, New Jersey.

Jessica Morgan

Jessica Morgan is The Daskalopoulos Curator, International Art, Tate Modern, where she is currently curating Tino Sehgal’s Turbine Hall Unilever Commission (2012), the first retrospective of Saloua Raouda Choucair (2013), and the exhibition The World Goes Pop (Tate Modern 2015). Morgan curated the retrospective of Gabriel Orozco (2011) and has organised numerous group and solo exhibitions for Tate Modern such as John Baldessari: Pure Beauty (2009), The World as a Stage (2007), Martin Kippenberger (2006), Time Zones (2004) and Common Wealth (2003). In addition, she curated TH.2058 the 2008/9 Turbine Hall Unilever Commission by Dominique Gonzalez-Foerster and Test Site the 2006/7 Turbine Hall commission by Carsten Höller. She curated the 2005/6 programme for Tate Modern’s Level 2 Gallery for which she developed a series of solo exhibitions of international emerging artists including Meschac Gaba, Jan De Cock, Roman Ondàk, Catherine Sullivan, Simryn Gill, and Brian Jungen. In addition to her work on exhibitions, Morgan works on Tate’s International Collection focusing on the development of the Collection’s holdings of emerging art from Europe, Eastern Europe, US, the Middle East and North Africa and South Asia. Morgan was previously Chief Curator at the Institute of Contemporary Art, Boston where she organised exhibitions of work by, among others, Carsten Höller, Ellen Gallagher, Olafur Eliasson, Rineke Dijkstra, Marlene Dumas, Marijke van Warmerdam, Kerry James Marshall and Cornelia Parker. Prior to that she was a curator at the Museum of Contemporary Art, Chicago, where she organised the first US and UK survey of the work of Mona Hatoum.

Morgan is currently curating the first survey exhibition of the work of Urs Fischer for LA MoCA (2013) and previously curated The Last Grand Tour for the Cycladic Art Museum, Athens (2011), Damian Ortega’s first major exhibition in the US at ICA Boston (2009), the exhibition An Unruly History of the Readymade for the Jumex Collection in Mexico (2008), and the first Reykjavik Art Festival in Iceland in 2005. She serves on the Board of Trustees of Chisenhale Gallery, London, is a nominator for the Rockefeller Bellagio Creative Arts Fellowship, was a judge for the 2009 Nationalgalerie Prize for Young Art at the Hamburger Bahnhof, Berlin and for the 2006 Paul Hamlyn Award for Visual Arts. Morgan has published and lectured extensively on contemporary art with essays appearing in numerous exhibition and museum catalogues as well as art journals such as Parkett and Artforum. Morgan has recently completed a monographic book on Gabriel Orozco for Tate Publications.

Carolyn Christov-Bakargiev

Carolyn Christov-Bakargiev is a curator and writer based in Rome, Kassel, and New York. After organizing exhibitions as an independent curator in different countries, from 1999 to 2001 she was senior curator of exhibitions at P.S.1 Contemporary Art Center, a MoMA Affiliate. She was the chief curator at the Castello di Rivoli Museum of Contemporary Art in Turin from 2002 to 2008 (and interim director of the museum in 2009). She was the co-curator of the first Turin Triennial in 2005 and artistic director for the 16th Biennale of Sydney in 2008.

As a writer, she has been interested in the relations between historical avant-gardes and contemporary art and has written extensively on the Arte Povera movement, such as in her book Arte Povera (London: Phaidon, 1999). She published the first monograph on the work of South African artist William Kentridge (Palais des Beaux Arts, Brussels; Serpentine Gallery, London; MACBA–Museu d’Art Contemporani de Barcelona, 1998–99), and the first monograph on Canadian artist Janet Cardiff, including works done in collaboration with George Bures Miller (P.S.1, New York, 2001).

As an independent curator, she co-curated “Il suono rapido delle cose,” a homage to artist and composer John Cage for the Venice Biennale in 1993. For “Antwerp ’93: European Capital of Culture,” she co-curated the international survey exhibition “On taking a normal situation and retranslating it into overlapping and multiple readings of conditions past and present” at MuKHA–Museum van Hedendaagse Kunst Antwerpen. In 1996, she curated the first large-scale survey on Italian postwar artist Alberto Burri (Palazzo delle Esposizioni, Rome; Palais des Beaux Arts, Brussels; Lenbachhaus, Munich). In 1997, she organized “Città-Natura,” a city-wide exhibition of international artists in various locations of Rome, including the zoology museum and the botanical gardens. She then co-curated “La Ville, le Jardin, la Mémoire” at Villa Medici in Rome (1998–2000), a three-year project that included new artworks by more than 100 artists.

As senior curator at P.S.1, she initiated and co-curated the first edition of “Greater New York” in 2000, a collaboration with MoMA, that marked a generation of new art. She then curated a historical exhibition on international art in the 1980s, “Around 1984: A Look at Art in the Eighties” (2000), and solo exhibitions of artists including Georges Adéagbo and Carla Accardi.