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.