Edi Ambassadors

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.

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.

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.

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.

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).

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.

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).

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.

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.

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’.

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.

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.