The EDI Ambassadors comprise a core group of 40 professionals active in art and education both in Italy and internationally who actively contributed to the initial development of the EDI platform’s content and its reach into the world and its many forms of communities. These individuals reflect a wide cross-section of experiences of how art institutions engage with increasingly diverse publics.
Product Design Engineer and Visual Artist, Master in Visual Arts and Education from the University of Granada, Spain. Arango has worked in projects around artistic education and scientific dissemination using active and participatory pedagogies with diverse populations, and for institutions such as the Universidad de los Niños EAFIT (one of the first programs of its kind in Latin America) and the Museum of Modern Art in Medellín (MAMM). She is currently in charge of the pedagogical design and coordination of educational processes at MAMM, such as the School for Mediators and the Visits Program, the portfolio of workshops and laboratories, and projects with communities outside the museum. Her vision of mediation contemplates the exchange and multiplicity of voices as principles; and questions, games and creation as strategies.
Holding a degree in Contemporary Art History, Irene has been involved in museum education since 2008, devising schemes that explore potential ways of relating art, the territory and communities. She joined the Fondazione Palazzo Strozzi’s Education Deparment in 2010 and is currently in charge of its family and accessibility schemes.
Anne Barlow is Director of Tate St Ives where she oversees its programme of exhibitions, displays, residencies, commissions, education and research.
Barlow was formerly Director of Art in General, New York, Curator of Education and Media Programs, New Museum, New York, and Curator of Contemporary Art and Design, Glasgow Museums, Scotland. Across these roles, she has led on programmatic and institutional vision and strategies, overseen museum collections, new commissions, artist residencies and public programmes, and managed numerous international collaborations with museums and nonprofit art spaces. She also initiated award-winning programmes including Museum as Hub (New Museum) and the What Now? symposia (Art in General). Barlow has published and lectured widely and was Curator of 5th Bucharest Biennale and Co-Curator of the Latvian Pavilion at the 55th Venice Biennale. She has acted on numerous selection panels and juries including the kim? Residency Award, Riga; Exposure 8, Beirut Art Center, Lebanon; MAC International 2018, Belfast; and the British Pavilion, 58th Venice Biennale.
Is the Head of Educational Services of the GAMeC – Gallery of Modern and Contemporary Art in Bergamo, where she deals with the relationship between the museum and possible audiences, with particular attention to the issues of access and inclusion.
Art Historian, she currently teaches in the Master “Economics and Management of Cultural Heritage”, organized by the Business School of Il Sole24Ore and in the Master “Educational Services for heritage, historical museums and visual arts”, of the Università Cattolica del Sacro Cuore, Milan, and professor of iconology at the Academy of Fine Arts in Syracuse. Since September 2020 he has been a member of the Diocesan Commission of Sacred Art of Bergamo. ICOM member, her research interests include the intertwining of art and society, read through images. Her latest publication Mettere al Mondo il Mondo. Immagini per una rinascita, Vita & Pensiero Editions, is dedicated to the theme birth, seen as a metaphor of rebirth and a key to understanding life, while the topic of the relationship between museums and publics was discussed in the essay Soggetti Smarriti. Il museo alla prova del visitatore, awarded in december 2021 of the “Silvia Dell’Orso Prize”.
Is a curator and writer based in São Paulo, Brazil. She is the artistic director of Pivô, a non-profit art space in São Paulo.
In parallel to her work at Pivô, she works as a Latin American art consultant for Kadist Art Foundation, is part of the curatorial teams of Artissima and Nesr Art Foundation, works as contributing editor of Frieze Magazine and integrates the development committee of the Milan-based platform Ordet. Recent projects include the solo exhibitions Oriana, Beatriz Santiago Munõz (2021), República, Luiz Roque (2020), Avalanche, Katinka Bock (2019), all at Pivô and the group shows A Burrice dos Homens, at Bergamin Gomide gallery, São Paulo (2019), Neither, Mendes Wood DM, Brussels (2017), co-curating the exhibition Caixa Preta, at Iberê Camargo Foundation, Porto Alegre (2018). Her texts have featured a number of publications, including Textwork by the Fondation d’Enterprise Pernod Ricard, Art Review, Art Agenda, Terremoto, Mousse, Cahiers d’Art, as well as contributing to national and international institutional catalogues and monographs MASP, Centre Georges Pompidou, Fridericianum and MOCA Detroit.
Nikita Yingqian Cai
Is Artistic Deputy Director and Chief Curator of Times Museum.
She has curated exhibitions a variety of exhibitions including the most recent ones of Omer Fast: The Invisible Hand (2018) and Zhou Tao: The Ridge in the Bronze Mirror (2019), Neither Black/Red/Yellow Nor Woman (2019) and Candice Lin: Pigs and Poison (2021). She has initiated and expanded the para-curatorial series and research network of “All the Way South” and is the co-editor of On Our Times . She was awarded the Asian Cultural Council Fellowship in 2019.
Gregory Castera (born 1981) is an art manager, curator, educator and editor working at the intersection of visual arts, performing arts, and political ecology. Castera conceives exhibitions, collaborative research, study programs and infrastructures that reflect on art’s contribution to environmental and social justice. Along with Sandra Terdjman, he co-founded Council, an office for art and society situated in Paris. In addition to directing Council, Castera is the co-editor of The Against Nature Journal (along with Aimar Arriola and Giulia Tognon) and an adviser of the AFIELD network for social initiatives from arts and culture. He teaches as a Guest Professor of collective practices at the Royal Institute of Art (Stockholm), he is an adviser for the Jan Van Eyck Academy (Maastricht), and the infrastructure and program advisor for Kerenidis Pepe (Paris and Anafi). Before this, he served as coordinator at Betonsalon (Paris, 2007-2009), he was co-director of Les Laboratoires d’Aubervilliers, a center for art and research situated in the outskirts of Paris (along with Nataša Petrešin-Bachelez and Alice Chauchat, 2010-2012) and was a member of The Encyclopédie de la parole, an art collective exploring the spoken word in all its forms (2007-2014). Castera was the Witte de With Curatorial Fellow (2017), a Resident Researcher at Villa Medicis Hors les Murs (2013) and a Gwangju Biennial Curatorial Fellow (2016). He has worked internationally with several institutions, in France, Norway, Sweden, Lebanon, Belgium, The United Arab Emirates, Russia and Taiwan, among others.
Ruxmini Reckvana Q Choudhury
Is a Bangladesh based Assistant Curator for the Samdani Art Foundation.
She works directly under Diana Campbell Betancourt to arrange seminars and international exhibitions. She has been researching on Art Mediation since 2016 and the first Art Mediation Programme in Bangladesh in the Dhaka Art Summit 2018 was led by her. She has also done extensive research on the artist initiatives from all over the country for the new Samdani Artist Led Initiatives Forum. Her work comprises research on local artists, archiving and monitoring the Samdani Art Foundation Collection among others. She completed her BFA in Art History from University of Dhaka.
Susanna Chung is Programmes Manager and Head of Learning & Participation at Asia Art Archive. Chung initiated the Learning and Participation Department at Asia Art Archive in 2007. Since then, she has worked to raise awareness of contemporary art education in the region and lead the cultural learning strategies, projects and partnerships in Hong Kong and across Asia. She has initiated and led the Mobile Library projects in Vietnam, Sri Lanka, Myanmar and Nepal. Currently, she is one of the project leads for Asia Art Archive’s project at documenta fifteen.
Chung is serving as Chair of the Music and Performing Arts Unit and an advisory board member of the Core Curriculum and General Education of the Lingnan University, Hong Kong. In 2016, she was selected as the International Fellow of the Clore Leadership Programme (2016-17) in the UK. Prior to that, she was awarded the Starr Foundation Fellowship (2010-11) by the Asian Cultural Council to research audience development and education programmes at various art institutions across the US.
Lim Chye Hong
Dr Lim Chye Hong is an art historian by training, with many years of experience in the museum and heritage sector, including curatorial, programming, and leadership positions in Australia and Singapore. A specialist in Chinese art with sound knowledge of Australian and Contemporary Art, Dr Lim is currently Head of Education, Programmes and Access at the Singapore Art Museum.
Is the chief curator and head of research at the Museum of Modern Art in Warsaw.
Selected exhibitions: ‘The Penumbral Age. Art in the Time of Planetary Change’ (2020), ‘Never Again. Art against War and Fascism in the 20th and 21st centuries’ (2019), ‘Making Use: Life in Postartistic Times’ (2016), and the Polish Pavilion at the 52nd and 54th Venice Biennales of Art (in 2007 with Monika Sosnowska, in 2011 with Yael Bartana).
As the Head of Public Engagement at the Queensland Art Gallery & Gallery of Modern Art (QAGOMA), Tamsin Cull leads the Children’s Art Centre, Public Programs and Members teams. The highly successful Children’s Art Centre has delivered decades of intergenerational cultural engagement from the Asia Pacific region to Australian children and their families through innovative interactive exhibitions, including the popular APT Kids exhibition program. Audiences of all ages are engaged with the region through programs and interactive experiences facilitated by Public Programs and Members.
Prior to beginning at the Gallery in 2002, while completing a Master of Art Administration at the University of New South Wales, Sydney, Tamsin worked at galleries including Ivan Dougherty Gallery, S. H. Ervin Gallery and Penrith Regional Gallery. She has also worked as a secondary school teacher.
Iftikhar Dadi is John H. Burris Professor and Chair of the Department of History of Art, Director of the South Asia Program, and board member of the Institute for Comparative Modernities at Cornell University. He researches modern and contemporary art from a transnational perspective, with an emphasis on methodology and intellectual history, and a focus on South and West Asia. Another research interest examines the film, media, and popular cultures of South Asia, seeking to understand how emergent publics forge new avenues for civic participation. He has authored The Lahore Effect: Cinema Between Realism and Fable (forthcoming), Modernism and the Art of Muslim South Asia (2010), and edited Anwar Jalal Shemza (2015). He has co-edited Lines of Control: Partition as a Productive Space (2012); and Unpacking Europe: Towards a Critical Reading (2001). Dadi is an advisor to Asia Art Archive and serves on the editorial and advisory boards of Archives of Asian Art and Bio-Scope: South Asian Screen Studies and was member of the editorial board of Art Journal (2007-11). He received his PhD from Cornell University. As an artist he collaborates with Elizabeth Dadi. Their work investigates the productive capacities of urban informalities in the Global South, and the mass culture of postindustrial societies.
Is an associate professor of General and Social Pedagogy at Suor Orsola Benincasa University of Naples where she is head of ‘Embodied Education’ research group, hosted by the Morra Foundation at Casa Morra.
Member of National Award for Scientific Dissemination, of the Technical Committee for the Intangible Cultural Heritage of the Campania Region and other cultural and scientific institutions. She is co-founder and president of cultural association ‘F2Lab’ and winner of the Standout Woman Award 2019, she writes for her blog ‘Artificio’ on Nòva of Sole24ore, author of scientific publications.
Born in April 1983, Laure has spent part of her childhood in Poland, Germany, Egypt and Russia. Next to her studies in History of Philosophy, Film studies and Cultural Management, Laure Goemans worked since 2004 as a museum mediator in Brussels.
Experiences such as mediating film to visually impaired people at Cinematek or delivering inclusive workshops and summer programs at Bozar, has triggered intense interest towards challenged museum visitors. In 2012, not to be overflown by the digital revolution, she pursues her academic wondering and admiration for visual narratives by achieving a bachelor in animation movie enhancing more hands-on skills. That same year, Laure Goemans founds ARTnimation a changemaking non-profit organisation, which delivers full tailored-on thematic programs for schools, museum, galleries and film festivals. She worked for three years at the House of European History before joining the WIELS in 2020 for the coordination of cultural mediation and outreach. As pioneering and challenging visual content stimulates exchange and reflection on art and on society, Laure likes to explore inclusive mediation practices not only to welcome but to involve and engage all people with art.
Daniel Blanga Gubbay
Is a Brussels-based curator and researcher. He is currently the artistic co-director of the Kunstenfestivaldesarts in Brussels.
He has worked as an educator and an independent curator for public programs, among which: Four Rooms, 2020; Can Nature Revolt? for Manifesta, Palermo 2018; Black Market, Brussels 2016; The School of Exceptions, Santarcangelo, 2016. He has worked as co-curator for LiveWorks, and was head of the Department of Arts and Choreography (ISAC) of the Royal Academy of Fine Arts of Brussels. Recent articles appeared in Makhzin, South as a State of Mind (Athens), Mada Masr (Cairo) and Performance Journal (New York).
Liesl Hartman (BAFA, HDE PG SEC) is the Head of Education at the Zeitz MOCAA in Cape Town, appointed to this position in July 2018. Liesl is best known in arts educational community in Cape Town as the principal of the Peter Clarke Art Centre, a position that she has held for since 2010. During her tenure as principal, the Art Centre was awarded the Cape 300 Foundation Gold medal for excellence in Arts Education. She has been involved in formal and community based Visual Art and Design Education for 27 years in her capacity as teacher, facilitator and manager. She has taught children and adults of all ages in a variety of contexts. She was part-time lecturer for the Visual Arts and Design post-graduate method course at the University of Cape Town until her appointment at the Zeitz MOCAA. She has received excellence awards for her support of, and in-service training for teachers in, the Creative Arts curriculum for the Western Cape Education Department and for her teaching in the Adult Basic Education and Training curriculum. She has written a variety of teaching and learning support material for the Creative and Visual Arts curricula for the Western Cape Education Department across all phases and has also done extensive training for educators. She has been appointed as external moderator for the Grade 12 National Practical Examination process since 2014.
She served as the Chairperson of the Ibhabhathane Project, a local and national arts educational and in-service teacher training programme based in Cape Town for 9 years. She project-managed and worked as a facilitator within the project for 16 years. The Ibhabhathane Project has offered access to arts education to children and teachers in South Africa for the past 17 years. She is a teacher and facilitator in the CICLO Arts Educational Exchange Project (Denmark/South Africa) and worked as a design facilitator in the Phakama International Arts Educational Exchange Project for 5 years. (South Africa/London/India)
Head of Learning and Research Uns oversees education programmes at Jameel Arts Centre – from school visits and children’s materials through to research initiatives and the Jameel Library.
She has a particular interest in visual culture and alternative histories and, over the past ten years, has worked across research, programming and content-development. Previous roles include managing the Global Art Forum at Art Dubai and research and curatorial at the Sharjah Art Foundation.
Malcolm Kratz (they/him) is an educational curator who is currently working as the Education and Talent Programmes Executive at Stedelijk Museum Amsterdam and as Educational Curator for Niet Normaal INT Foundation. In 2014 he graduated from the Utrecht School of the Arts at the department of Autonomous Art. The following year he began a master’s degree at the Dutch Art Institute, a nomadic school with a curriculum that lies between art, philosophy and critical theory, and he subsequently obtained his teacher’s training.
Kratz’s opinion is that to build a society that can withstand the future, it is important that we can place ourselves as individuals in perspective, to give ourselves a place, vis-à-vis the rest of the world (human-animals, non-human animals and the environment). In view of the cross-curricular aspects of critical thinking, collaboration and media literacy from 21st century skills and shared values, dealing with controversial views and attention to human rights from citizenship, students need to come into contact with intersectional perspectives in order to be able to break through norm-thinking. These norms are often unconscious and invisible, and thus become the ‘power of self-evidence’. Art and culture play an important role in this process.
Lyuda Luchkova is Inclusive Projects сoordinator at Garage Museum of Contemporary Art (Moscow, Russia) and holds a master degree in Linguistic from Higher School of Economics. Since starting as assistant manager at the Department of Inclusive Programs at Garage in 2016, she developed several project for deaf and hard of hearing visitors such as dictionary of contemporary аrt terms and dictionary of environmental terms in Russian Sign Language, poetry slams in Russian Sign Language, Museum for Beginners course for Moscow schools for deaf and hard of hearing children as well as specialized accessibility training programs for museum workers.
Chus Martínez is head of the Institute Art Gender Nature FHNW Academy of Arts and Design in Basel.
She was the expedition leader of The Current, a project initiated by TBA21–Academy (2018–2020) and from 2021 she is the artistic director of Ocean Space, Venice, a space initiated by TBA21–Academy. The Current is also the inspiration behind Art is Ocean, a series of seminars and conferences held at the Institute Art Gender Nature which examines the role of artists in the conception of a new experience of nature. At the Institute Art Gender Nature she is currently leading the research project The Womxn’s Factor, on the role of education in enhancing women’s equality in the arts.
Is an art historian.
She graduated in Conservation of Cultural Heritage at Ca’ Foscari University, and since 2004 has worked as Manager for Education, Grants and Special Programs at the Peggy Guggenheim Collection, branch of the Solomon R. Guggenheim Foundation in New York. As part of her job, she coordinates educational programs for schools and families, oversees collateral projects related to exhibitions, supervises museum accessibility programs, and ensures grants and donations from foundations and government.
Is an art historian and a heritage educator.
She obtained the Master of Arts in Learning and Visitor Studies in Museums and Galleries at School of Museum Studies of University of Leicester. She runs the Education Office at MAXXI – National Museum of 21 st Century Arts (Rome and L’Aquila) where she’s been working since 2005. She was a member of the Scientific Committee of Ludantia. I International Biennial on Architecture Education for Children and Youngsters (Pontevedra, Spain). She created Reading the Space. International Conference on Education through Architecture (first edition January 2019, second edition March 2021). Her research focuses on cultural and social inclusion, gender studies, participatory planning and education through the built environment.
Laura Mudge is the Senior Program Officer at the Children’s Art Centre of the Queensland Art Gallery & Gallery of Modern Art (QAGOMA) and, since 2014, has contributed to the development of over 40 artist projects and exhibitions, and a number of award-winning publications for children. Laura has also overseen the diversification of programming for babies and toddlers with the development and introduction of Art Starters in 2017 and Art Play Date in 2020. Prior to joining the Children’s Art Centre team, Laura worked in the Managerial Research department at the Gallery from 2010. Following the completion of a Bachelor of Arts with first class Honours at the University of Queensland in 2008, Laura worked at the University of Queensland as an Art History Tutor.
Marie Helene Pereira
Marie Helene Pereira is a curator based in Dakar, SN. She is the director of programs at RAW Material Company, where she has organized exhibitions and related discursive programs. She cocurated Scattered Seeds in Cali, CO (2015–17), curated Battling to Normalize Freedom at Clark House Initiative in Mumbai, IN (2017), and was a cocurator of the 13th edition of the Dak’Art Biennale de l’Art Africain Contemporain (2018). In 2021, Pereira was a recipient of the ICI Curatorial Research Fellowship, a Marian Goodman Gallery initiative conceived by the artist Steve McQueen in honor of the late Okwui Enwezor.
Is senior curator of exhibitions and programming at the Kiran Nadar Museum of Art (KNMA) in New Delhi.
She has served as associate curator of India Pavilion at the 58th Venice Biennale (2019) and participated in many curatorial residencies and visitorship programs. Her research focuses on exhibition histories of modern and contemporary Indian art, institutional memory, storytelling and educational interfaces in a contemporary art museum setting. Akansha has conceptualised a multi-year and multipart program ‘Young Artists of Our Times’ at KNMA, which is unfolding as exhibitions, books, stories, library, conversations, public art commissions and more. Her recent curatorial projects at KNMA include “Right to Laziness…” (2020), “Summer’s Children” (2019), “Smell Assembly” (2019), “What Place is Kitchen? What Place Community?” (2018); “Hangar for the Passerby” (2017); conversation series “Invitation for a Coup” (2016); “Zones of Contact: Propositions on the Museum” (co-curated with Deeksha Nath and Vidya Shivadas, 2013); and the performance series “Inhabiting the Museum” (2011-2015). She has been an active member of artists-led initiatives, forums, and collectives in Delhi, most prominently as a member of artist collective WALA, along with Paribartana Mohanty and Sujit Malik, developed a pioneering nomadic performative project ‘Kachra Seth’s Observatory’.
Aaron Seeto is Director of Museum MACAN, Jakarta.
He was previously Curatorial Manager of Asian and Pacific Art, at Queensland Art Gallery; as well as the Director of 4A Centre for Contemporary Asian Art, Sydney
Is the coordinator of the Education and Mediation Department of the Mart.
For years he has been carrying out research on the relationship between art and meditation and on the aesthetic education experiences developed by artists and designers. He has curated studies and insights on the aesthetic thought of Joséphin Péladan, Giovanni Segantini, Hundertwasser, Geoff McFetridge. He is part of the Scientific Committee of the Psycho-Social Research Center in personal services at the University of Verona.
He is the author of “Esercizi d’arte”, for Rizzoli Education-Erickson, “Piccolo Museo. L’ABC del Mart in 100 opere” and, with Thea Unteregger, of the book “;Io + museo. Incontri, arte, persone”, published by Mart.
Is Director and CEO of UCCA Center for Contemporary Art.
Since joining in 2011, he has led its transformation into China’s leading art institution, with locations in Beijing, Shanghai, and Beidaihe. He was co-curator of the 2017 Guggenheim exhibition “Art and China after 1989,” and artistic director of the First Diriyah Biennale, Saudi Arabia, 2021
Graduated in Cultural Heritage with a focus on art history in 2002 at the University of Macerata focusing on the scenario of museum education in the Marche region.
After several internships in the main educational departments of Italy (MAMbo, Macro, etc.), she became first a museum educator and then the service coordinator at the Museo Tattile Statale Omero of Ancona, specializing in accessibility and education to the cultural heritage for the visually impaired. She has curated for ten years the Education column for the art website www.ExibArt.com, since 2010 she writes, always about museum education, for the magazine Artribune.
Jacqueline Tunny has recently been appointed to the role of Program Coordinator for the Children’s Art Centre at the Queensland Art Gallery & Gallery of Modern Art (QAGOMA) , following ten years as a Programs Officer in the team. Since 2011, Jacqueline has contributed to the development of a diverse range of exhibitions and programs created especially for the Gallery’s children and family audiences. Jacqueline has also contributed to ongoing projects that reach beyond the walls of the Gallery and into the wider community, such as the Kids on Tour series (which extends Children’s Art Centre programming to venues across Queensland). She is passionate about connecting children with art and artists through accessible and engaging experiences.
Emiliano Valdés (Guatemala, 1980) is Chief Curator at the Medellín Museum of Modern Art (MAMM).
Prior to that, he was Associate Curator for the 10th Gwangju Biennale (South Korea, 2014 – 2015) and Co-Director of Proyectos Ultravioleta (2010 – 2014), then a multi-faceted platform for experimentation in contemporary art based in Guatemala City. In 2012, Valdés was the CPPC Curatorial Fellow at dOCUMENTA(13) (Kassel), and from 2009 to 2012, he was Curator/Head of Visual Arts at the Centro Cultural de España in Guatemala City. Valdés has worked for institutions such as the Museo Nacional Centro de Arte Reina Sofía, (Madrid, 2005 – 2006), and contemporary Magazines, (London, 2006 – 2008) and has been Co-Curator of the 8th Bienal de Artes Visuales Nicaragüenses (Nicaragua); Curator of the 17th Bienal de Arte Paiz (Guatemala); Director of the seminar ‘Hábitat: Arte, contexto y análisis urbano’ (Nicaragua), Artistic Director of Foto30, a contemporary photography and image festival in Guatemala City and Professor of Curatorial Practice at the Francisco Marroquín University (Guatemala). In 2017 he completed the first international survey of Guatemalan modern and contemporary art for the Museum of Contemporary Art Santa Barbara as part of the Getty’s Pacific Standard Time: LA/LA.
Andrea Viliani is the Co-Curator of the program Pompeii Commitment. Archaeological Matters and Head and Curator of the Castello di Rivoli Research Center (CRRI).
He previously held the positions of General Director of the Donnaregina Foundation for Contemporary Arts / Madre, Naples (2013-2019), Director of the Galleria Civica Foundation-Research Center on Contemporariness, Trento (2009-2012) and Curator at the MAMbo-Museum of Modern Art, Bologna (2005-2009). In 2010-2012 he was among the 6 members of the dOCUMENTA(13) Agent-Core Group and in 2006 he was among the 60 players of the Biennale de Lyon. In 2005 he received the Lorenzo Bonaldi Prize for emerging curators.
A curator and writer based in Paris and Naples, Kathryn Weir was named artistic director of the Madre museum of contemporary art in 2019.
Current and recent curatorial projects include Lagos Biennial 2021-2023, ‘Rethinking Nature’ (16 December 2021 – 2 May 2022, Madre museum of contemporary art, Naples), ‘Utopia Dystopia: the myth of progress seen from the South’ (at the Madre until 17 February 2022) and ‘Collective Body’ (at Dhaka Art Summit 2020). She was previously director of multidisciplinary programs at the Centre Pompidou, and created ‘Cosmopolis’ there in 2015 as a platform for research-based, socially engaged and collaborative practices that reconfigure art’s histories and geographies. She also established the annual festival ‘MOVE: performance, dance, moving image’ in 2017. From 2006-14, at the Queensland Art Gallery | Gallery of Modern Art (QAGOMA), Brisbane, she was chief curator of contemporary international art, directed the Australian Cinémathèque, and was a member of the curatorium of the 5th, 6th and 7th Asia Pacific Triennials, as well as leading the major project ‘21st Century: art in the first decade’ (2010-2011). Her curatorial and writing practice engages with critical thinking on technology, race, class, gender and political ecology.
Assistant Director, QAGOMA, South Bank, Brisbane, Queensland, Australia
Simon Wright has worked in public galleries for 25 years, with a passion for creating great visitor experiences. His teams run Public Programs, Member Services, Guides, Learning + Access Programs, Publishing + Research Library, the Children’s Art Centre and Design departments that facilitate virtual or built environments to enliven engagement