The 2025 edition will be moderated by Drew Sawyer, Sondra Gilman Curator of Photography at the Whitney Museum of American Art and co-curator of the 2026 Whitney Biennial, and Margit Rosen, Head of Collections, Archives & Research at ZKM | Karlsruhe.

Both return after participating in the inaugural edition to lead this year’s cohort through critical, research-driven exchange. 

Munira Al Sayegh is founder of Dirwaza Curatorial Lab, a UAE-based curatorial incubator and cultural advisory. She has curated exhibitions including Gauze (Tabari Art Space, Dubai, 2024), Evident Presence (NMSS at Abu Dhabi Art, 2023), Evaporating Suns (KBH.G, Basel, 2023), Zemanna (Manarat Al Saadiyat, 2022), and Leadership Pavilion Project (Expo2020, Dubai, 2020). Earlier projects include The Cup and The Saucer (421, 2020), The Creative Act (Guggenheim Abu Dhabi, 2017), and her curatorial debut Bayn: The In-Between (UAE Unlimited, 2017). Active in the region since NYU Abu Dhabi’s FIND project (2012), she also serves on the advisory board of the university’s art gallery.

Lucia Aspesi is a curator at Pirelli HangarBicocca, where she has organized exhibitions and publications for Tarek Atoui, Trisha Baga, Dineo Seshee Bopape, Chiara Camoni, Sheela Gowda, Thao Nguyen Phan, Daniel Steegmann Mangrané, Nari Ward, and Nan Goldin (upcoming, 2025). Recent independent projects include a duo show by Senga Nengudi and Maren Hassinger at IVAM, Valencia, and the exhibition program Cosmic Archeology at Wäinö Aaltonen Museum of Art, Finland (2021), featuring Tabita Rezaire, Alia Farid, Mox Mäkelä, and Patricia Domínguez. She presented Ben Rivers at La Triennale di Milano (2017) and co-curated the Marinella Pirelli retrospective at Museo del Novecento (2019). Aspesi has collaborated with the Marinella Pirelli Archive for over a decade and teaches curatorial studies at NABA, Milan (since 2021). She has contributed to and edited numerous publications and regularly lectures on moving images and curating.

Marcella Beccaria is an art historian, curator, and author. She is Vice Director of Castello di Rivoli Museo d’Arte Contemporanea, where she also heads the CRRI – Research Institute and since 2012, she has served as Chief Curator. She began her career at the Museum of Fine Arts and the Institute of Contemporary Art, Boston. At Castello di Rivoli, she has curated and co-curated exhibitions including Rebecca Horn (2025), Gabriel Orozco (2024), Michelangelo Pistoletto (2023), Olafur Eliasson (2022), Anne Imhof (2021), Otobong Nkanga (2021), Bracha L. Ettinger (2021), Giulio Paolini (2020), Anri Sala (2019),Yuri Ancarani (2019), Nalini Malani (2018), Gilberto Zorio (2017), Wael Shawky (2016), and Giovanni Anselmo (2016). Beccaria has also curated exhibitions at ICA London; Fundació Joan Miró, Barcelona; and The Centre for the Less Good Idea, Johannesburg. She has authored numerous publications, including Castello di Rivoli Museo d’Arte Contemporanea: History and Collections (2023) and the monograph Olafur Eliasson (Tate, 2013). She has lectured and taught at several institutions and Universities and since 2020 she teaches Curatorial Studies at NABA Academy in Milan.

Lisa Botti is a curator at the Neue Nationalgalerie, Berlin. She recently co-curated Andy Warhol: Velvet Rage and Beauty (2024) and Isa Genzken 75/75 (2023) with director Klaus Biesenbach. Together they also program the annual Perform! Festival, which combines historical performances with contemporary positions. She previously worked at the Sydney Biennale (2019–2021) under artistic director Brook Andrew and was director of Chan + Hori, Singapore (2016–2019), focusing on public art across Southeast Asia. She holds an MA in Art History from Humboldt University of Berlin.

Dennis Brzek is Curator of Contemporary Art at the Albertinum, Staatliche Kunstsammlungen Dresden, Germany. In addition to curating large-scale exhibitions, most recently Wolfgang Tillmans: Weltraum (2025), he develops collection displays, and acquisition strategies as Head of the Collection of Contemporary Art. He currently leads the research and exhibition initiative At Eye Level: Rethinking the Albertinum (2025–2026), which sets out to develop a new narrative for the museum by reflecting on changing definitions of the public. Previously, he was Curator at Fluentum, Berlin (founded 2019), a private institution dedicated to time-based media. He contributed to building Fluentum’s focus on commissioning new film and video works and curated solo and group exhibitions with artists including Loretta Fahrenholz, Calla Henkel & Max Pitegoff, Patricia L. Boyd, Peter Wächtler, Richard Sides, Simon Lässig, and D’Ette Nogle, among others.

Jordan Carter joined Dia Art Foundation as curator and co-head of the curatorial department in 2021. At Dia, he has curated numerous exhibitions including Renée Green: The Equator Has Moved (2025), Amy Sillman: Alternate Side (Permutations #1–32) (2025), Keith Sonnier (2024), Lucas Samaras (2024), Mary Heilmann: Starry Night (2024), stanley brouwn (2023), Tony Cokes (2023), and Jo Baer (2022), among others. He also curated the exhibition Cameron Rowland: Properties (2024) following the 2023 announcement of Dia’s stewardship of the artist’s Depreciation (2018) as one of its twelve sites and locations. His forthcoming projects include presentations of the work of Agnes Martin and major new commissions by D Harding, Fujiko Nakaya, and Haegue Yang. He oversees Dia’s permanent collection and works closely on the preservation of and programming around its permanent installations, including Robert Smithson’s Spiral Jetty (1970) and Nancy Holt’s Sun Tunnels (1973-76), both located in Utah.

Barbara Casavecchia is chief editor at Mousse Magazine. A writer, curator, and educator based in Milan, she teaches at the Brera Academy of Fine Arts. In 2023–24, she was QuiS Visiting Research Fellow at the Städelschule, Frankfurt. Select curatorial projects include Thus waves come in pairs (Simone Fattal, Petrit Halilaj & Álvaro Urbano), Ocean Space, Venice (2023). She is the editor of Thus Waves Come in Pairs. Thinking with the Mediterraneans (Sternberg Press/TBA21, 2023). Her writing has appeared in Frieze, Art Agenda, ArtReview, D/La Repubblica, Flash Art, Mousse, South/documenta 14, and Spike, as well as in numerous artist books and catalogues.

Heike Eipeldauer is Deputy General Director and Curator at mumok, Vienna, where she has curated exhibitions including Medardo Rosso. The Invention of Modern Sculpture (2024, ART Curator Award for Best Exhibition; venue at Kunstmuseum Basel, 2025, co-curated with Elena Filipovic), Kazuna Taguchi: I’ll never ask you (2025), Mapping the 60s (2024/25), and Jongsuk Yoon: Kŭmgangsan (2024/25). She previously held positions as Head of Collection at the Leopold Museum, Vienna (2018–2020), and Curator at Kunstforum (2004–2017), where she organized major exhibitions including Georges Braque (2008), Birgit Jürgenssen (2010/11, with Gabriele Schor), Meret Oppenheim (2013/14, with venues at Martin Gropius-Bau, Berlin, and Lille Métropole Musée d’art moderne, Villeneuve d’Ascq), Georgia O’Keeffe (2016/17, with Tanya Barson, Tate Modern, and Georgiana Uhlyarik, Art Gallery of Ontario), and Oskar Kokoschka: Expressionist, Migrant, European (2019, with Cathérine Hug, Kunsthaus Zürich). She teaches, participates in international juries, and is the author and editor of numerous publications on modern and contemporary art.

Thomas Feulmer is Curator at The Warehouse, Dallas. Since 2004, he has worked at The Rachofsky House and The Warehouse, Dallas (both extensions of The Rachofsky Collection). His recent exhibitions include For What it’s Worth: Value Systems in Art since 1960 (2024, co-curated with Lisa Le Feuvre, Executive Director of Holt/Smithson Foundation), which was grounded in international conceptual art tendencies of the 1960s and 1970s and included work by 80 artists from across generations and geographies to explore one of the most urgent concerns of our time: the growing challenges to value systems that have arisen out of confrontations with social, political, and cultural power structures. Sound as Sculpture (2022) brought together foundational works from the 1960s and 1970s, alongside important recent and contemporary works, to examine the ways in which artists use sound to create an experience of space as time; play with the body’s ability to emit, transmit, perceive, and absorb sound; and draw on the psychological and poetic effects of sound in space. Among his independent projects is Modern Ruin (2011, co-curated with Christina Rees), a two-day exhibition staged in an unoccupied WaMu bank building abandoned after the 2008 financial crisis.

Christophe Gallois is senior curator at Mudam Luxembourg, where he has worked since 2007. He has curated solo exhibitions for Ho Tzu Nyen (2025), Lisa Oppenheim (2025), Dayanita Singh (2023), Tacita Dean (2022), David Wojnarowicz (2019), LaToya Ruby Frazier (2019), Katinka Bock (2018), Su-Mei Tse (2017), and Fiona Tan (2016), as well as major group exhibitions including L’Image papillon (2013) and The Space of Words (2009). His work at Mudam has involved collaborations with institutions such as the Taipei Fine Arts Museum, Aargauer Kunsthaus, Whitechapel Gallery, Singapore Art Museum, Whitney Museum of American Art, Centre de la Photographie (Geneva), and Musée d’Art Moderne (Paris). He curated the Luxembourg Pavilion at the 2022 Venice Biennale and sits on the boards of La Synagogue, Delme, and CEAAC, Strasbourg.

Matilde Guidelli-Guidi is curator and co–department head at Dia Art Foundation. She has organized exhibitions of work by Duane Linklater, Senga Nengudi, Cameron Rowland, Kishio Suga, Meg Webster, and Jack Whitten, among others. Select publications include Artists on Agnes Martin (2026), Senga Nengudi: Populated Air (2025), Jack Whitten: The Greek Alphabet Paintings (2023), and An Introduction to Dia’s Locations and Sites (2021). She is responsible for overseeing Dia’s permanently sited works by Walter De Maria, Dan Flavin, Max Neuhaus, and Joseph Beuys. She also curates the Artists on Artists Lecture Series, commissioning contemporary artists to respond to their peers and Dia’s institutional history.

Sabine Himmelsbach has been Director of HEK (House of Electronic Arts), Basel, since 2012. Her exhibitions include Libby Heaney: Quantum Soup (2024), Anne Dukhee Jordan, Collective Worldbuilding (2023), Making FASHION Sense and Real Feelings: Emotion and Technology (2020), Entangled Realities: Living with Artificial Intelligence (2019), Lynn Hershman Leeson: Anti-Bodies, Eco-Visionaries (2018), unREAL (2017), Rafael Lozano-Hemmer: Preabsence (2016), Poetics and Politics of Data (2015), and Ryoji Ikeda (2014). Earlier, she curated gateways. Art and Networked Culture (Kumu Art Museum, Tallinn, 2011). Himmelsbach studied art history in Munich and has held positions at Steirischer Herbst Festival, ZKM Karlsruhe, and Edith-Russ-Haus Oldenburg. She writes and lectures on media art and digital culture.

Eliel Jones is Curator, Performance and Time-based Media at Kanal – Centre Pompidou, Brussels, a new museum opening in 2026. Prior to Kanal, he curated the 2nd Brent Biennial in London and held positions at Metroland Cultures, Cell Project Space, and Chisenhale Gallery, working closely with emerging artists including Arwa Aburawa and Turab Shah, Mohammed Z. Rahman, Shenece Oretha, Alex Baczynski-Jenkins, Hannah Black, Lydia Ourahmane and Paul Maheke, amongst others. His independent curatorial projects include exhibitions at Delfina Foundation, London; Ujazdowski Castle CCA, Warsaw; Mohammed and Mahera Abu Ghazaleh Foundation, Jordan; and Dallas Museum of Art, Texas. Jones has written on contemporary art and performance for e-flux, Frieze, Artforum, The Guardian, Flash Art, Mousse, and X-TRA, and contributes to international publications. He teaches at KASK, Ghent and is a Trustee of PEER, London.

Dr. Franziska Kunze is Chief Curator of Photography and Time-based Media at the Bavarian State Painting Collections | Pinakothek der Moderne, Munich, where she curated Glitch. The Art of Interference (2023) and co-curated On View. Encounters with the Photographic (2025). Previously, she oversaw the Contemporary Art Department at the LWL-Museum für Kunst und Kultur, Münster, and was a fellow in the “Museum Curators for Photography” program of the Alfried Krupp von Bohlen und Halbach Foundation (2017–2019). She also teaches, writes, and serves on expert juries for photography.

Jiwon Lee is Head of Curatorial at Sharjah Art Foundation, where she oversees the year-round exhibition program and the Sharjah Biennial. She previously worked on three editions of the Seoul Mediacity Biennale (2021, 2016, 2012), the fourth Anyang Public Art Project (2013–2014), and projects at the Asia Culture Center, Gwangju. Lee collaborated with numerous artists based in Korea to produce primarily moving-image works, which were exhibited in institutions and biennials worldwide.

Catalina Lozano is Chief Curator at Artium Museoa, Museum of Contemporary Art of the Basque Country where she has organised exhibitions by Jutta Koether, Julia Spínola, Joëlle Tuerlinckx, Patricia Dauder, among others. Her research has focused on the analyses of colonial narratives as well as the deconstruction of the modern division between nature and culture. Select exhibitions include Until the Songs Spring, Mexican Pavilion, 59th Venice Biennale (2022, co-curated with Mauricio Marcin); A Natural History of Ruins, Pivô, São Paulo (2021); The willow sees the heron’s image upside down, TEA, Tenerife (2020); Le jour des esprits et notre nuit, CRAC Alsace, Altkirch (2019, co-curated with Elfi Turpin); Winning by Losing, CentroCentro, Madrid (2019); Ce qui ne sert pas s’oublie, CAPC, Bordeaux (2015); and A Machine Desires Instruction as a Garden Desires Discipline, MARCO Vigo, FRAC Lorraine, and Alhóndiga Bilbao (2013–14). She curated Amarantus by Mariana Castillo Deball at MUAC, Mexico City, and Artium Museoa, Vitoria-Gasteiz (2021), and Replica by Santiago Borja at Museo Amparo, Puebla (2022). Lozano was Director of Programs in Latin America at KADIST (2020–22), Associate Curator at Museo Jumex, Mexico City (2017–19), and part of the artistic team of the 8th Berlin Biennale (2014). Her book The Cure was published by A.C.A. Public in 2018.

Sam Ozer is Curator-at-Large at Canyon, as well as a writer and founder of TONO, a non-profit arts organization dedicated to time-based art, with an annual festival across museums and music venues in Mexico City and Puebla. TONO has commissioned or presented work by over fifty artists and collaborated with institutions including Serpentine Galleries, London; National Museum of Modern and Contemporary Art, Seoul; National Gallery of Victoria, Melbourne; Pérez Art Museum Miami; Venice Biennale; Wiels, Brussels; Mudam, Luxembourg; and CAM Gulbenkian, Lisbon. Ozer was the inaugural video curator for Feria Material and Zona Maco (both Mexico City) and previously held curatorial roles at the Poetic Justice Group at MIT Media Lab, and at MoMA and MoMA PS1, New York.

Erica Papernik-Shimizu is Associate Curator in the Department of Media and Performance at The Museum of Modern Art. A founding member of the department, she works collaboratively to shape best practices for the stewardship and display of the Museum’s collection of time-based art. Select exhibitions include Shigeko Kubota: Liquid Reality (2021–22); Tony Oursler: Imponderable (2016, co-organized with Stuart Comer); and Images of an Infinite Film (2013). She has also contributed to the New York presentations of Carolee Schneemann: Kinetic Painting (2017–18, curated by Sabine Breitwieser) and Marina Abramovic: The Artist Is Present (2010, curated by Klaus Biesenbach). She holds an MA from University College London (2005) and a BA from the University of Michigan, Ann Arbor (2004).

Christoph Platz-Gallus has been Director of the Kunstverein Hannover since 2022. An art historian, curator and exhibition manager, previously, he held positions at Skulptur Projekte Münster (2007), Kunsthalle Münster, and Westfälischer Kunstverein, and in 2010 joined the Project Management Department of dOCUMENTA (13), later serving as its head. He directed the Exhibition Departments of Bergen Assembly (2013) and documenta 14 in Kassel and Athens (2017), and worked as an independent strategic advisor for institutions including Stadtkuratorin Hamburg and the Academy of the Arts of the World, Cologne. From 2018 to 2022, he was Head of Curatorial Affairs at steirischer herbst, Graz, and lecturer at the Institute for Contemporary Art at Graz University of Technology.

Grégoire Prangé is Exhibition Curator and Conservation Department Coordinator at LaM, Lille Métropole Museum of Modern, Contemporary, and Outsider Art, where he has curated exhibitions including Marisa Merz, Listening to Space (2024), Anselm Kiefer, Photography at the Beginning (2023), and Isamu Noguchi, Sculpting the World (2023). He is currently developing raw, a forward-looking program conceived as a laboratory for experimentation and critical engagement with young artists.

Dr. Tina Rivers Ryan is Editor in Chief of Artforum magazine. Prior to joining Artforum, she was a curator at the Buffalo AKG Art Museum and curatorial researcher at The Metropolitan Museum of Art. In addition to curating exhibitions such as “Electric Op,” “Peer to Peer,” and “Difference Machines: Technology and Identity in Contemporary Art,” she has written for museums such as the Tate, the V&A, MUDAM Luxembourg, Museum Tinguely, Pirelli HangarBicocca, Dia, and the Walker Art Center, and has regularly contributed to magazines including Artforum, Art in America, the Brooklyn Rail, Apollo, Burlington Contemporary, and Spike.

Valentine Umansky is a curator at Tate Modern, where she oversees the time-based media program and co-chairs the museum’s photography acquisitions committee and European acquisition circle. She previously held positions at the International Center of Photography and MoMA, New York, and at the Contemporary Arts Center, Cincinnati, and co-curated the 2018 LagosPhoto Festival, Nigeria. At Tate, recent projects include the Ana Mendieta retrospective (opening 2026) and displays of works by Belkis Ayón, Nikita Gale, Tourmaline, Cinthia Marcelle, Buhlebezwe Siwani, Dineo Seshee Bopape, and Rosa Barba. Since 2022, she has served on the selection committee of the Villa Medici Film Festival and co-curated the Gjon Mili Biennial, Prishtina, and Frieze Film x EMAP, Seoul (both 2024–25).

Vincent van Velsen has been Head of Exhibitions at Eye Filmmuseum, Amsterdam since 2025. A curator, writer, and editor with a background in art and architectural history, previously, he was Curator of Contemporary Art and Photography at the Stedelijk Museum Amsterdam, where he oversaw the collection and curated solo exhibitions by Anne Imhof, Nan Goldin, Ellen Gallagher, Nora Turato, and Sandra Mujinga. He has also curated exhibitions at Nieuwe Instituut, Rotterdam (Submerged Heritage, 2023) and Museum Catharijneconvent (Christianity and Slavery, 2024). Van Velsen regularly contributes texts for artists, institutions, catalogues, and magazines, including Metropolis M, where he is a contributing editor, and has served on the curatorial team of sonsbeek20→24, as board member at De Appel Amsterdam, advisor to the municipality of Amsterdam, and chair of several Mondriaan Fund committees.

Robyn Farrell, Senior Curator and Director of Curatorial Affairs at The Kitchen, New York City’s Center for Experimental Art and the Avant-Garde, has been awarded the 2024 Maison OFFSCREEN Curatorial Research Grant for her project Some Spectacle or Satellite, which explores Nam June Paik’s Good Morning, Mr. Orwell, a 1984 television performance between Paris and New York.

By revisiting this transatlantic media event, Farrell proposes new dialogues between experimental television, migration, and collaborative performance.

Her project reflects a shared commitment between OFFSCREEN and The Kitchen to artist-driven research and the porous circulation of ideas across disciplines and geographies.

Dr. Tina Rivers Ryan is Editor in Chief of Artforum magazine. Prior to joining Artforum, she was a curator at the Buffalo AKG Art Museum and curatorial researcher at The Metropolitan Museum of Art. In addition to curating exhibitions such as “Electric Op,” “Peer to Peer,” and “Difference Machines: Technology and Identity in Contemporary Art,” she has written for museums such as the Tate, the V&A, MUDAM Luxembourg, Museum Tinguely, Pirelli HangarBicocca, Dia, and the Walker Art Center, and has regularly contributed to magazines including Artforum, Art in America, the Brooklyn Rail, Apollo, Burlington Contemporary, and Spike.

Douglas Fogle is an independent curator and writer based in Los Angeles. He is currently working on the launch of KINOPOP, an itinerant platform for exhibiting and commissioning works in the realms of moving images, music, architecture and design and visual arts. Fogle has held curatorial positions at institutions including the Hammer Museum, the Carnegie Museum of Art, and Walker Art Center. His current and past exhibitions have included, among others, Transmissions at Marciano Art Foundation, Los Angeles; Thomas Demand: The Stutter of History (multiple venues, 2022–25); Luisa Lambri: Autoritratto, Padiglione d’Arte Contemporanea, Milan (2021); Life on Mars, The 55th Carnegie International (2008); and The Last Picture Show: Artists Using Photography, 1962–1984, Walker Art Center (2003).

Chris Bayley is a curator and writer based in London, UK. He is currently Exhibitions Curator at Serpentine where he has worked on exhibitions and accompanying publications including Judy Chicago: Revelations (2024); Tomás Saraceno: Web(s) of Life (2023); and Barbara Chase-Riboud: Infinite Folds (2022). Previously he was Assistant Curator at Barbican, where he worked on Carolee Schneemann: Body Politics (September 2022); Shilpa Gupta: Sun at Night (2021); Claudia Andujar: The Yanomami Struggle (2021); Masculinities: Liberation through Photography (2020); Yto Barrada: Agadir; and Modern Couples: Art, Intimacy and the Avant-Garde (both 2018), authoring and editing publications for many of these projects. He was also Associate Curator at VITRINE, London (2014–2024) and has worked on exhibitions with artists such as Leah Clements and Kate Cooper, among many others.

Jordan Carter joined Dia Art Foundation as curator and co–department head in 2021. Since then, he has curated exhibitions of work by stanley brouwn, Tony Cokes, Felix Gonzalez-Torres, Maren Hassinger, Mary Heilmann, Cameron Rowland, and Lucas Samaras. Forthcoming projects in 2024-25 include a presentation of Keith Sonnier’s work and Renée Green’s first major solo museum exhibition in New York featuring new and historical works. Carter oversees the preservation of and programming around Dia’s permanent installations, including Robert Smithson’s Spiral Jetty (1970) and Nancy Holt’s Sun Tunnels (1973–76), both in Utah, as well as the stewardship of Cameron Rowland’s Depreciation (2018).

Manuel Cirauqui is a curator and writer currently based in Barcelona. Since 2019 he has been the director of einaidea, a think tank and programming platform at EINA University Center of Design and Art/Universidad Autònoma de Barcelona. Furthermore, since 2016 he has served as a curator at the Guggenheim Museum Bilbao where he has conducted the Film & Video exhibitions programme and also curated a number of major shows, such as: ‘Anni Albers. Touching Vision’ (2017); ‘Art and Space’ (2017); ‘Henri Michaux. The Other Side’ (2018); ‘Architecture Effects’ (2018); ‘Soto. The Fourth Dimension’ (2019); ‘Sections/Intersections. Material Life’ (2022); ‘June Crespo. Vascular’ (2024); and the forthcoming ‘Arts of the Earth’ (2025). Previously, Cirauqui worked at arts institutions such as Museo Tamayo, Mexico City; Dia Art Foundation, New York; and Jeu de Paume, Paris.

Robyn Farrell is senior curator at The Kitchen, New York, where she organizes and oversees exhibitions, publications, live and online programming. Recent exhibitions include Desire Inc. (2024) with Lynn Hershman Leeson as part of The Kitchen’s Video Viewing (VVR) Program and The Kitchen in Focus at 47 Canal (2024). Previously she spent nearly twelve years at the Art Institute of Chicago, most recently as associate curator in the Department of Modern and Contemporary Art. There she served on the curatorial teams for over fifty exhibitions. She curated and co-curated numerous exhibitions during her tenure in Chicago, including the 2021 exhibition with Barbara Kruger, THINKING OF YOU. I MEAN ME. I MEAN YOU, the Chicago presentation of Gregg Bordowitz: I Wanna Be Well (2019), Christine Sun Kim: Cues on Point (2023), and Maren Hassinger: This Is How We Grow (2023). Farrell has contributed to numerous publications and artist monographs, has spoken widely on contemporary and time-based media, and is an internationally recognized scholar on the work of German filmmaker and video art pioneer Gerry Schum, including his landmark art on television broadcasts such as Land Art (1969).

Regina Harsanyi is the Associate Curator of Media Arts at the Museum of the Moving Image. She also advises artist studios, museums, galleries, auction houses, and private collectors on preventive conservation for variable media arts, from plastics to distributed ledger technologies. Harsanyi previously facilitated over 200 exhibitions with a creative technology focus as Director of Programming at Wallplay and worked as a Registrar at Sotheby’s. She is a graduate of NYU’s Institute of Fine Arts, has taught at SAIC, Columbia University and lectures globally. Her most recent curatorial work includes the acclaimed exhibition “Auriea Harvey: My Veins are the Wires, My Body is Your Keyboard” (MoMI, 2024).

Clara Kim is currently Chief Curator & Director of Curatorial Affairs at The Museum of Contemporary Art in Los Angeles, since September 2022. Recent curatorial projects include Paul Pfeiffer: Prologue to the Story of the Birth of Freedom (2023-4), the artist’s first U.S. retrospective for the Geffen Contemporary at MOCA, which travels to Museo Guggenheim, Bilbao and the Museum of Contemporary Art Chicago (2024-5). While at Tate Modern from 2016-2022, Kim curated a survey exhibition on the celebrated artist/filmmaker Steve McQueen (2020); Hyundai Turbine Hall commission Kara Walker: Fons Americanus (2019-21); Christian Marclay: The Clock (2018-9). Previously, Kim has held curatorial positions at the Walker Art Center, REDCAT, SFMOMA and San Francisco Art Institute and curated the 2018 Gwangju Biennial and the 2010 Media City Seoul. She sits on the Board of CIMAM and is the chair of the Content Committee for the forthcoming 2024 Annual CIMAM Conference in Los Angeles.

Andrea Lissoni, PhD, is since 2020 the Artistic Director of Haus der Kunst München. His programme is based on transdisciplinary approach in which all strands are deeply connected started in April 2022 with the sound and music residency series TUNE and a series of intertwined exhibitions by Fujiko Nakaya, Dumb Type, Carsten Nicolai, Christine Sun Kim, Tony Cokes, Karrabing Film Collective, Pussy Riot, followed by Inside Other Spaces. Environments by Women Artists 1956—1976, alongside shows by WangShui, Martino Gamper and Meredith Monk. The series developed further in spring 2024, with solo exhibitions by Pan Daijing, Liliane Lijn and Rebecca Horn. Formerly he was Senior Curator, International Art (Film) at Tate Modern, London, and previously curator at HangarBicocca, Milan. At Tate he curated Philippe Parreno’s Turbine Hall Commission in 2016, as well as survey exhibitions of Joan Jonas and Bruce Nauman. In 2019, he co-curated the Biennale de l’Image en Mouvement The Sound of Screens imploding, Centre d’Art Contemporain Genève and OGR, Turin.

Lisa Long (b. California, lives in Berlin) is a curator specialized in contemporary and time-based art. Her curatorial approach is artist driven and seeks to amplify transdisciplinary practices from around the globe that engage in forms of critical inquiry and storytelling. Long currently serves as the Artistic Director of the Julia Stoschek Foundation, where she has curated the program since 2019. Recent largescale group exhibitions include A Fire in My Belly (2021); at dawn (2022) Unbound: Performance as Rupture (2023); and After Images (2024). She has also organized solo exhibitions with Sophia Al-Maria, Meriem Benanni, A.K. Burns, Stephanie Comilang & Simon Speiser, Rindon Johnson, (LA)HORDE, and WangShui, among others, as well as numerous performances, screenings, and talks.

Lesley A. Martin is executive director of Printed Matter. Formerly, she was the creative director of Aperture and founding publisher of The PhotoBook Review. She has worked closely with more than 150 artists and photographers to give shape to their books, including An-My Lê’s Small Wars; Illuminance by Rinko Kawauchi; LaToya Ruby Frazier: The Notion of Family; Zanele Muholi: Somnyama Ngonyama; and I’m So Happy You Are Here: Japanese Women Photographers, from the 1950s to Now, co-edited with Pauline Vermare. Since 2016, she has been a visiting critic at the Yale University Graduate School of Art.

Gabriela Rangel is an independent curator and writer based in Brooklyn, New York. She is interested in looking at gender gaps in modernisms from the Global South. From 2019 to 2021, she was artistic director of the Museo de Arte Latinoamericano de Buenos Aires (MALBA). Previously she was Director of Visual Arts and Chief Curator at Americas Society from 2004 to 2019 in New York. She holds an MA in curatorial studies from the Center for Curatorial Studies, Bard College, an MA in media and communications studies from the Universidad Católica Andrés Bello, Caracas, and film studies from the International Film School at San Antonio de los Baños, Cuba. Rangel also studied Law at the Universidad Católica Andres Bello. She has worked at the Fundación Cinemateca Nacional and the Museo Alejandro Otero in Caracas, and the Museum of Fine Arts, Houston in Texas. Rangel has curated exhibitions on Tecla Tofano, Elsa Gramcko, Erick Meyenberg, Sylvia Gruner, Carlos Cruz-Diez, Marta Minujín, Gordon Matta-Clark, Gego, Arturo Herrera, José Leonilson, and Xul Solar. She has edited numerous books, and contributed texts to such publications as Emily Mae Smith (Petzeld Gallery, New York); Pedro Reyes: Sociatry (Museum Marta Hertford, Hertford, Germany, 2022); Rosangela Renno (Pinacoteca de SP, 2021); Erick Meyenberg: D Major Isn’t Blue (Museo Amparo, 2020); Lydia Cabrera: Between the Sum and the Parts (Americas Society/Koenig Books, London, 2019); Contesting Modernity: Informalism in Venezuela 1955–1975 (Museum of Fine Arts, Houston, 2018); Marta Minujín, Minocodes (Americas Society, 2016); and A Principality of Its Own (Americas Society/Harvard University Press, 2006). She is currently working on her book Strategies of Self Sabotage: Art and Politics in Venezuela 1959-1973. She’s currently a consultant for RGR in Mexico City. Member of AICA America and a three-year researcher at the Vartan Gregorian Center for the Research at Humanities at the New York Public Library, she is also a consultant to the Osvaldo Vigas Foundation in Mexico City.

Yasmil Raymond is an independent curator. From 2020 until 2024, Raymond served as the director of Portikus and rector of the Städelschule, Frankfurt. She has held curatorial positions at the Museum of Modern Art, New York; the Dia Art Foundation, New York; and the Walker Art Center, Minneapolis. Raymond serves on the Board of Trustees of Dia Art Foundation, New York; Teiger Foundation, New York; the Stephen Antonakos Foundation, New York, and A.R.T. (Art Resources Transfer), New York. More recently, she co-curated the exhibition Rirkrit Tiravanija: DAS GLÜCK IST NICHT IMMER LUSTIG (Happiness is not always fun), on view at the Gropius Bau, Berlin, until January 12, 2025.

Val Ravaglia (she/they) has been working as Curator, Displays and International Art at Tate Modern, London since 2019, and was previously an Assistant Curator there since 2012. They hold a PhD in Humanities and Cultural Studies from Birkbeck, University of London (ex London Consortium). Ravaglia curated countless collection rooms at Tate Modern, co-curated the Tate Modern exhibition A Year in Art: Australia 1992 (2021-2023) and led on Tate’s touring exhibition The Dynamic Eye: Beyond Op and Kinetic Art, for its Porto and Istanbul legs (2023-24). Their upcoming major exhibition Electric Dreams. Art and Technology before the Internet opens at Tate Modern on 28 November 2024.

Margit Rosen is an art historian and curator, serving as the head of the Department Collection, Archives & Research at ZKM | Centre for Art and Media Karlsruhe since 2016. With an academic background in art history, philosophy, and media arts, she has taught at different universities, including the Central Academy of Fine Arts Beijing, and the State University of Milan. Her research and curatorial work focus on the relations between art, society, and technology in the 20th and 21st centuries. Among her publications is A Little-Known Story About a Movement, a Magazine, and the Computer’s Arrival in Art (MIT Press, 2011).

Nilüfer Şaşmazer is a Curator at Arter in Istanbul, Turkey. Previously she coordinated the exhibitions hosted in Yanköşe, an open-air non-profit art platform in Istanbul from 2017 to 2019, and she has curated exhibitions held in different institutions and independent venues in Istanbul and Ankara. Since 2016, she has worked as an editor for various exhibition publications, artist books as well as monographs. Between 2012 and 2016, she worked as an arts writer. Her essays have been published in various print and online publications. She served as a jury member for several artistic programmes. She received her master’s degree in Cultural and Artistic Project Management at Université Lumière Lyon II in France.

Drew Sawyer is the Sondra Gilman Curator of Photography at the Whitney Museum of American Art, where he recently organized the exhibition “Mark Armijo McKnight: Decreation.” With Marcela Guerrero, he is co-curator of the upcoming 2026 Whitney Biennial. An accomplished curator and art historian, Sawyer has focused on the intersection of art and social movements of the 1930s and 1970s, as well as queer art histories and contemporary practices in the United States. Prior to the Whitney, Sawyer served as the Phillip and Edith Leonian Curator at the Brooklyn Museum, where he organized exhibitions like Copy Machine Manifestos: Artists Who Make Zines (2023), the first in-depth exploration of the intersection of zines and contemporary art practices in North America. Throughout his career, Sawyer has curated or co-curated notable exhibitions, including Suneil Sanzgiri: Here the Earth Grows Gold (2023); Jimmy DeSana: Submission (2022); John Edmonds: A Sidelong Glance (2020); Garry Winogrand: Color (2019); Liz Johnson Artur: Dusha (2019); Art after Stonewall, 1969–1989 (2019); Isaac Julien: Looking for Langston (2018); Allan Sekula: Aerospace Folktales and Other Stories (2017); Lucy Raven: Low Relief (2016); and ‘Social Forces Visualized’: Photography and Scientific Charity, 1900–1920 (2011), among others. Sawyer holds a Ph.D. in Art History from Columbia University.

Silke Schmickl is the CHANEL Lead Curator, Moving Image at M+ in Hong Kong. She was previously curator at the National Gallery Singapore and the Institute of Contemporary Arts Singapore, a researcher at the German Center for Art History in Paris, and the co-founding director of Lowave, a Paris-based curatorial platform and publishing house for moving image artists. She has initiated and directed numerous art and film projects focusing on emerging art scenes in the Middle East, Africa, and Asia, and has curated exhibitions in partnership with museums and biennials around the world.

Anna Lena Seiser is managing director of Neuer Berliner Kunstverein (n.b.k.) and head of the n.b.k. Video-Forum, the oldest and one of the biggest public video art collections in Germany. From 2015–2019 she was curator at Kunsthalle Düsseldorf and worked for the Visual Arts department of the German Academic Scholarship Foundation from 2011–2015. Seiser is author and editor of several catalogues. Her recent projects include solo exhibitions and site-specific installations with a. o., Rosa Barba, Loretta Fahrenholz, Claire Fontaine, Simon Fujiwara, Sharon Hayes, Christine Sun Kim and Thomas Mader, Les Levine, Laura Lima, Megan Rooney, Karin Sander or Sung Tieu.

Chelsea Spengemann is the Executive Director of Soft Network, a nonprofit she co-founded in 2021, which includes the professional resource group AFELL (Artist Foundations and Estate Leaders List), co-founded by Spengemann in 2019. Spengemann has overseen the Stan VanDerBeek Archive since 2008 and in 2019 she co-curated VanDerBeek + VanDerBeek with Sara VanDerBeek at the Black Mountain College Museum + Arts Center, NC. Spengemann was the curator for Becoming Disfarmer in 2014 and the Instant as Image in 2016, both for the Neuberger Museum of Art at SUNY Purchase. She has an MFA in Photography from Bard College, an MA in Art History from Purchase College and in 2019 completed the Aspen Institute Seminar for Artist Endowed Foundation Leaders.

Yechen Zhao is Assistant Curator of Photography and Media, Art Institute of Chicago. Zhao specializes in twentieth-century American photography, Asian American art, and East Asian photography during the Cold War and its aftermath. Recent exhibitions curated include David Goldblatt: No Ulterior Motive and Foreign Exchange: Photography between Chicago, Japan, and Germany. He is currently preparing an exhibition surveying the Chinese artist Pixy Liao, opening in 2025. He has served as a visiting critic for the Yale School of Art, and his writing has appeared in History of Photography and Aperture. He received his PhD in art history from Stanford University, and completed a postdoctoral fellowship at the Yale University Art Gallery.