Julia Bryan-Wilson – president – is a professor of contemporary art and LGBTQ+ studies at Columbia University. His curators include Cecilia Vicuña: About to Happen (with Andrea Andersson) e Louise Nevelson: Persistence (Collateral Event of the 59th International Art Exhibition of the Venice Biennale). Art historian and critic, she is the author of Art Workers: Radical Practice in the Vietnam War Era (University of California Press, 2009); Fray: Art and Textile Politics (University of Chicago Press, 2017, winner of the ASAP Book Prize, the Frank Jewett Mather Award, and the Robert Motherwell Book Award); Louise Nevelson’s Sculpture: Drag, Color, Join, Face (Yale University Press, 2023). Bryan-Wilson was a 2019 Guggenheim Fellow. In addition to the various awards she has received for her teaching and mentoring, she has received grants and scholarships from institutions such as the National Endowment for the Humanities, Terra Foundation and the Andy Warhol Foundation.
Alia Swastika she is director of the Yogyakarta Biennial Foundation in Indonesia. She graduated from the Communication Department of Gadjah Mada University. Since 2008 she has been a curator and program director at Ark Galerie in Jakarta / Yogyakarta. In addition to your curatorial activity, you publish articles in national and international newspapers, magazines and books. In 2011 you were curator of the Jogja XI Biennale together with Suman Gopinath (India); in 2012 she was one of the co-curators of the Gwangju Biennial in South Korea and of museums in Belgium and the Netherlands. In 2017 you were among the curatorial consultants for the exhibition Contemporary Worlds: Indonesia at the National Gallery of Australia, Canberra. He founded the Study on Art Practices, which publishes the contemporary art magazine Skripta. Her book “Artist Negotiation Practices “Women and Gender Politics of the New Order” was published with the research support of the Ford Foundation in 2019. Over the past ten years she has been dealing with the issue and prospects of decolonialization and feminism, participating to several projects of decentralizing art, rewriting the history of art itself and encouraging local activism. Study Indonesian women artists during the New Order in Indonesia and the regime’s gender policies that influenced the practices of artists of that period He is currently part of the curatorial team of the Sharjah Biennial 16 in 2025.
Chika Okeke-Agulu He is Director of the African Studies Program, Director of the Africa World Initiative and Professor of Art and Archeology and of African American Studies at Princeton University. He was Slade Professor of Fine Art at the University of Oxford (2022-23) and is a Fellow of the British Academy. He writes in the magazine Nka: Journal of Contemporary African Art. His recent writings include El Anatsui. The Reinvention of Sculpture (2022); African Artists: From 1882 to now (2021); Yusuf Grillo: Painting. Lagos. Life (2020); Obiora Udechukwu: Line, Image, Text (2016). Recently she cured Samuel Fosso: Affirmative Acts (2022) e El Anatsui: Triumphant Scale (2019). Okeke-Agulu serves on the advisory boards of the Hyundai Tate Research Centre, Tate Modern (London) and the Museum of West African Art (Benin City). Her awards include the Melville J. Herskovits Prize (African Studies Association, 2016) and the Frank Jewett Mather Award for Distinction in Art Criticism (College Art Association, 2016).
Elena Crippa is an Italian curator who lives and works in London. Since 2023 she has been Head of Exhibitions at the Whitechapel Gallery in London. As Senior Curator of Modern and Contemporary Art at Tate Britain you have created exhibitions that explored the transnational and transcultural intersections of art from a global perspective, including All Too Human (2018), Frank Bowling (2019), Kim Lim: Carving and Printing (2020-21), Paula Rego (2021) and the commission Hew Lock: The Procession of 2022. She was a lecturer on the Master of Research in Exhibition Studies at Central Saint Martins and conducted her PhD as part of the research project ‘Art School Educated’ (Tate, 2009–13). You have published books and essays on post-war and contemporary art. A monograph on Sonia Boyce (Tate Publishing) and an essay on Francis Newton Souza (HarperCollins Publishers India) are forthcoming.
María Inés Rodríguez is a Franco-Colombian curator, currently director of the Walter Leblanc Foundation in Brussels and artistic director of Tropical Papers. Committed to promoting dialogue between artistic production and historical, political and social contexts at a local and global level, she was director of the CAPC Musée d’art Contemporain in Bordeaux, curator of the MASP in Sao Paulo, Brazil, chief curator of the MUAC in the city of Mexico, of MUSAC in Spain and guest curator of the Jeu de Paume in Paris. Her curatorial experience is characterized by important retrospectives with Alejandro Jodorowsky, Beatriz González and Babette Mangolte, along with site-specific projects with Danh Vo, Leonor Antunes, Rosa Barba and Teresa Margolles. You have also organized solo exhibitions with artists such as Daniel Steegmann Mangrané, Sky Hopinka, Leticia Parente, Dominique González-Foerster, Ana Pi, Laure Prouvost, Yona Friedman, demonstrating your commitment to presenting artists of different generations and backgrounds.
