Akansha Rastogi 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. Her research focuses on exhibition histories of modern and contemporary South Asian art. Her recent curatorial projects at KNMA include “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 and her additional ‘curatorial-objects’ include “The Souvenir Shop” at Chatterjee & Lal, Mumbai (2018); and “Tilting” at School of Environment and Architecture, Mumbai (2018).

Alia Swastika is Director of Biennale Jogja Foundation since 2018 after has been involved in the organization for last 8 years . She has worked as Program Director for Ark Galerie, Yogyakarta, Indonesia since 2008 and is actively involved as a curator, project manager and writer on a number of international exhibitions. With Suman Gopinath, she was the co-curator of the Jogja Biennale XI, Shadow Lines: Indonesia Meets India (2011), and was one of the co-artistic directors for the Gwangju Biennale IX (2012): Roundtable. She also participated as the curator of a special exhibition of Indonesian artists in the 2012 edition of Art Dubai. She has extensive experience for her curatorial projects in Indonesia and abroad. Her recent curatorial works includes co-curators for Europalia Arts Festival Indonesia for Contemporary Art Projects (2017) and “Songs for the People” (Art Sonje, Seoul, 2018).

As the director of Jogja Biennale, she was a member of the International Biennale Association Board (2013-2017, and she recently founded ‘Study on Art Practices’, a platform for research into contemporary art in Indonesia. She writes for Frieze, Art Forum, Broadsheet journal, and many others, as well as for numerous publications in Indonesia.

Born in Lucknow in 1958, Anita Dube completed her BA (History) from Delhi University in 1979 and her MVA (Art Criticism) from the Faculty of Fine Arts, Maharaja Sayajirao University, Baroda in 1982. As a member of the Radical Painters and Sculptors Association she wrote the manifesto of the seminal exhibition ‘Questions and Dialogue’ in 1987. Dube is the co-founder and board member of KHOJ International Artists' Association. She has contributed texts to many publications on contemporaty art.

Anita Dube's select solo exhibitions include ‘Yours Disparately’ (Nature Morte, New Delhi, 2014), ‘Chance Pieces’ (Nature Morte, Berlin,2013), ‘Eye, etc.’ (Lakeeren Gallery, Mumbai, 2013), ‘Babel’ (Galerie Dominique Fiat, Paris, 2011), ‘Kal’ (Lakeeren Gallery, Mumbai, 2010), ‘Phantoms of Liberty’ (Galerie Almine Rech, Paris, 2007), ‘Illegal’ (Nature Morte, New Delhi; Bose Pacia, New York; Gallery SKE, Bangalore, 2005), ‘The Sleep of Reason’ (Sakshi Gallery, Mumbai; Nature Morte, New Delhi, 2003), ‘Via Negativa’ (Nature Morte, New Delhi, 2000), ‘You Tell What You Know Down Here Girl’ (Sakshi Gallery, Mumbai, 1999), Desire Garden (Community Hall, Apartments, New Delhi, 1992).

Besides being the Curator of Kochi-Muziris Biennale 2018, she has been represented in various national and international biennales and festivals such as the first ‘Kochi Muziris Biennale’ (India, 2012), ‘Biennale Jogja XI’ (Jogja National Museum, Indonesia, 2011), ‘Against Exclusion’ 3rd Moscow Biennale of Contemporary Art (curated by Jean-Hubert Martin, Garage Center, Russia, 2009), ‘iCon: India Contemporary’, Venice Biennale (Collateral event, Italy, 2005), ‘Yokohama Triennale’(Japan, 2001) and ‘7th Havana Biennial’ (Cuba, 2000). Anita lives and works in Delhi, India.

Anushka Rajendran is a curator and art writer primarily based in New Delhi. She is the curator for Prameya Art Foundation (PRAF), a not-for-profit arts organisation based in New Delhi committed to approaches that enable audience-thinking for contemporary art in India. She is also the curator of the 2021 edition of the biennial arts festival, Colomboscope. Recently, she was assistant curator for Kochi-Muziris Biennale 2018. As a scholar, Anushka is completing her PhD in Visual Studies at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi. Her research traces how the notion of ‘public’ has acquired alternative significance to contemporary Indian art since 2004. Her previous MPhil research focused on the adoption of installation art by artists in India in the early 1990s to address collective and personal trauma. For her curatorial practice, she has been awarded fellowships that supported residencies with Aomori Contemporary Art Center, Aomori, Japan; the International Studio & Curatorial Program (ISCP), New York (by Inlaks Shivdasani Foundation); and Theertha International Artists’ Collective, Colombo. Her contribution as an art writer and editor was recognised in 2015 when she received the Art Scribes Award for emerging/mid-career art writers of Indian origin.

Boon Hui Tan is Vice President for Global Arts and Cultural Programs, and Director of Asia Society Museum, where he leads the organization’s global arts and cultural activities spanning visual arts, performing arts, literary arts, and film. Prior to this, he was Assistant Chief Executive (Museum & Programs) at the National Heritage Board (NHB) in Singapore, where he oversaw exhibitions, programs, and outreach events across the Board’s museums, institutions, and divisions. In 2015, he was Artistic Director for Singapour en France, le Festival, the largest multidisciplinary presentation of contemporary culture from Singapore and Southeast Asia in France. As a curator and programmer, his research and writing interests focus on the contemporary artistic expressions of Southeast Asia and Asia, and the remaking of traditions among artists of today. He was Director of the Singapore Art Museum from 2009 to 2013, where he led the transformation of the museum into a contemporary art institution focused on Southeast Asia and assembled the largest public collection of contemporary art from the region. He initiated the regional focus and group curating approach which became the distinguishing feature of the Singapore Biennale 2013: If the World Changed, and served as a cocurator and Project Director. Tan was a founding board member of the International Biennial Association. He is currently Artistic Director and co-curator (with Michelle Yun) of the inaugural Asia Society Triennial, an initiative launching in June 2020.

Cosmin Costinas is the executive director/curator of Para Site, Hong Kong. He was the curator of BAK, basis voor actuele kunst, Utrecht, Netherlands (2008-2011), co-curator (with Ekaterina Degot and David Riff) of the 1st Ural Industrial Biennial: Shockworkers of the Mobile Image, Ekaterinburg, 2010, and editor of Documenta 12 Magazines, Kassel/Vienna (2005–2007).

At Para Site, Costinas curated the exhibitions: A Beast, a God, and a Line (2018), Soil and Stones, Souls and Songs (2017) and Journal of the Plague Year. Fear, Ghosts, Rebels, SARS, Leslie and the Hong Kong Story (with Inti Guerrero, 2013),” among others. At BAK, he curated Spacecraft Icarus 13. Narratives of Progress from Elsewhere, (2011) among others. He co-authored the novel Philip (2007) and has contributed his writing to numerous magazines and publications across the world. Costinas has taught and lectured at different universities and art academies in Europe and Asia.

Mr. Kadam has been working with the Dr. Bhau Daji Lad Museum since 2010 under various capacities. At present, Mr. Kadam is a Curator and manages the Museum’s permanent collection and exhibitions. Mr. Kadam along with the Museum Director, Mrs. Tasneem Mehta has co-curated and installed exhibitions of contemporary and historical art. Some of the curatorial projects include Notes of Labour by Praneet Soi, Speculations from the Field by Rohini Devasher, Asymmetrical Objects by various artists and Spectral Times by Sarnath Banerjee. Historical exhibitions includes M. V. Dhurandhar: The Artist as Chronicler 1867 -1944. Mr. Kadam has assisted and worked on many national and international exhibitions at the Museum.

Mr. Kadam has a post-graduate degree in Archaeology & Art History, University of Durham, UK (2009). He has been awarded a number of scholarships and fellowships; the University of Durham Scholarship in 2007, Diversity Fellowship from the Museums Association, UK in 2009, Bonita Trust & British Council training fellowship at the Victoria and Albert Museum (V&A), UK in 2012 and Museum Abteiberg and International Visitor Programme, NRW Kultur International, Germany in 2014 and the International Curatorial Institute for Modern and Contemporary Art at the MoMA in collaboration with the Center for Curatorial Leadership in 2016.

Huang Chien-Hung is Associate Professor, Institute of Trans-disciplinary Art, Taipei National University of Arts. He has published numerous books, including COQ(2009), An Independent Discourse (2001), Trans-Plex Agenda (2011), EMU (2012), and Smile of Montage (2013). Huang has curated shows such as Chim↑Pom’s Beautiful World and Crush on EMU (2012), Schizophrenia Taiwan 2.0 (2013), Post-Movement (2014), and Discordant Harmony (2015).

Jagath Weerasinghe is an artist. He is also a senior professor at the Postgraduate Institute of Archaeology (PGIAR) teaching history and theory of archaeology, art history and heritage studies. He is also the Director of Archaeology to Sigiriya World Heritage Site managed by the Central Cultural Fund (CCF) and also the Director of Murals Conservation at the CCF.

He received his BFA degree from the Institute of Aesthetic Studies, University of Kelaniya and an MFA from American University, Washington D.C. He studied murals conservation in ICCROM in 1985 and Rock Art Conservation at the Getty Conservation Institute in 1988. He has been working as a murals conservator since 1983 with the Central Cultural Fund and has been training murals conservators since 1985 at the Postgraduate Institute of Archaeology. Since 2004 he has been teaching, researching and working on heritage management issues pertaining to living sacred sites. He is the author of the revised curriculum of the Postgraduate Diploma in Heriatge Management of the PGIAR. He is a member of the Executive Committee of ICOMOS, Sri Lanka. He has been a Visiting Fellow, Institute of Archaeology, University of London; ICCROM Fellow for Conservation Studies, ICCROM, Rome, Visiting Fellow at the Stellenbosch Institute for Advanced Studies, South Africa and Visiting Scholar, University of California at Berkeley, and at University of Texas, Austin. He has been the recipient of the David Lloyed Kreeger Award of the Art Department of the American University; Bunka Cultural Award, Sri Lanka; and Hirayama Silk Road Fellowship, UNESCO. He is also a recipient of Art and Literary Arts Resident Fellowship, Bellagio Center of the Rockefeller Foundation in 2017.
He has shown his works in various national and international exhibitions, including the 4th Asian Art Show 1994, Fukuoka, Asia Pacific Triennial 3/ 1999, Queensland, and the Singapore Art Biennale 2006.

Jiandyin, collaborative interdisciplinary artists and curators team since 2002, currently live and work in Ratchaburi, Thailand. PornpilaiMeemalai, b.1968, obtained an MA degree from School of Arts and Humanities, Royal College of Art, UK, 1998, JiradejMeemalai, b.1969, obtained an MFA degree in Sculpture from Silpakorn University, Thailand, 2004. Almost a decade, they have been developing work that approached with artistic research, field work, genealogically layered with references to multiple sources and evidence, forms and matters upon a wide range of disciplines and mediums, achieve through collaboration and social engagement. jiandyin are interested in creating space/platform or situation to analyze relationships between man and society in relation to context and history of the place and space. They delve into complex, ambiguous universal and specific issues regarding the political conflict or effect on marginalized groups which is a paradox of nation-state.

They were awarded a fellowship grant from the Asian Cultural Council New York in 2009 and were artists in residence at Headlands Center for the Arts, San Francisco, International Studio and Curatorial Program, New York, 2010, Treasure Hill Artist Village, Taipei, Taiwan, 2012, CivitellaRanieri center, Umbria Italy and Lichtenberg Studios, Berlin, Germany, 2013.

Jiandyin’s solo-exhibitions include Portrait [Archives of Dialogue: Seeing and Being] Gallery Seescape, Chiang Mai, Thailand, The Ontology of Gold: Magic Mountains, Cartel Artspace, Bangkok, Thailand, in 2017. Biennales and exhibitions include 2019 Asian Art Biennial: The stranger from beyond the Mountain and the sea, The National Taiwan Museum of Fine Arts, Taichung, Taiwan. 2018 Kuandu Biennale: Seven Questions for Asia, Kuandu Museum of Fine Arts, Taipei, Taiwan. Thailand Biennale Krabi 2018: Edge of the wonderland, Krabi, Thailand. They curated Bangkok Layers Contemporary Art Exhibition, Bangkok Art and Culture Centre Bangkok, Thailand (2018). Laotemporary Contemporary Art Exhibition, KhonKaen University, Thailand (2018). They Co-curated ThaiTai Re-conversation: Based on True Story, About photography, Bangkok, Thailand (2018). ThaiTai: A Measure of Understanding, Bangkok Art and Culture Centre Bangkok Thailand-URS21 Chung Shan Creative Hub, Taipei Taiwan 2012-2013.

Jiandyin are founders of Baan Noorg Collaborative Arts and Culture in 2011, a not-to-profit artist initiative that runs contemporary art and cultural, artist in residency, curatorial, interdisciplinary exchange and post-education programs for Nongpho community’s contemporary art and culture development and global networks.

Nguyen Nhu Huy is visual artist, independent curator, art critic and song writer and poet. As an artist, his works have been shown internationally in Japan, France, and USA and Huy has been being invited to work internationally. As art critic, Nhu Huy has been writing, translating and publishing domestically and internationally on Vietnam contemporary art, culture, and art theory, and has been being guest speaker for the many international conferences such as “Vietnam art post-doimoi”, which was held at Singapore Art Museum 2008, Asian Curator Conference organized by Japan Foundation 2010, "Alternative Route: Art & Cultural Exchange In Asia" in Yokohama , Koganecho Bazaar project 2014, Asian Curatorial Forum in Dhaka, Bangladesh, 2017, TECHSTYLE Series 2.1: Discussion Forum, Hongkong, 2017. Huy was the co-editor and author of the fist and only bilingual anthology of Vietnam Art whose title is “Essays on Vietnamese modern and contemporary art, which was published by Singapore Art Museum 2009. Huy was the author for Vietnamese session in the anthology on International video art whose title is “ Video, an art , a history”, which was published by Pompidou Centre and Singapore Art Museum 2010. As a poet, his collection of poem, “the complex sentences” published by Literature association publisher in 2008 was the topic for several literature master and Ph.D. theses in Vietnam and abroad. His collection of 10 poems was also introduced in the Poetry Stand Magazine, England, Volume 12, 2014. As a songwriter, his song, “a lullaby for you” was awarded as Best song in the Song composing competition “ Vietnam Song” that was organized by Vietnam Television Channel in 2008. As the curator, Nhu Huy was co-curator for Singapore Biennale 2013 and since 2013-2016 Huy has been curatorial advisor for long- term art project “Koganecho Bazaar”, Yokohama, Japan. Nhu Huy was guest curator for Brand New Project 2015, an annual project initiated by Bangkok Creative University that aims to introduce potential young Thai artists to Thailand contemporary art scene. In 2016 Huy was the co-curators of Kuandu Biennale 2016, Taiwan. Since 2016 up to now, Nhu Huy is the artistic director of the two-year Asian multiple activities and interdisciplinary festival Asian In/Visible Station 2016-2018 that is organized and curated by ZeroStation in Hochiminh city and funded by Asian Center, Japan Foundation. Nhu Huy now is guest lecturer on contemporary art theory at Lotus Univeristy, Hochiminh city, Vietnam Huy was founder and is now the artistic director of ZeroStation (www.zerostationvn.org). In general this is a project-based space with residency program for international artists and showcase space for local and international projects.

Özge Ersoy is Public Programmes Lead at Asia Art Archive, a Hong Kong-based independent non-profit organisation initiated in 2000 in response to the urgent need to document and make accessible the multiple recent histories of art in the region. With one of the most valuable collections of material on art freely available from its website and onsite library, AAA builds tools and communities to collectively expand knowledge through research, residency, and educational programmes. Ersoy is also Research and Programming Associate of the 13th Gwangju Biennale (2020) and was Assistant Curator of The Pavilion of Turkey, La Biennale di Venezia (2015). Her writings have been included in Curating Under Pressure (Routledge, 2019), The Constituent Museum (Valiz and L’Internationale, 2018), Speculation, Now (Duke University Press and the Vera List Center for Art and Politics, 2015), and Rethinking Contemporary Art and Multicultural Education (New Museum, 2010), among others. Ersoy holds an MA from the Center for Curatorial Studies, Bard College.

Parul Dave-Mukherji is professor of Visual Studies and Art History at the School of Arts and Aesthetics, Jawaharlal Nehru University, New Delhi, India. She holds a PhD from Oxford University and has a parallel research interest in pre-modern Indian aesthetics and modern/contemporary Indian/Asian Art. She has held fellowships at the Clark Art Institute, Williamstown, USA; South Asia Institute, Heidelberg, Germany; British Academy fellowship, Goldsmiths’ College, London; Kunst Historische Institute, Florence. Her recent publications include “Whither Art History in a Globalizing World”, The Art Bulletin, June, vol. XCVI, Number 2, College Art Association; Arts and Aesthetics in a Globalizing World, co-edited with Ramindar Kaur, London: Bloomsbury, 2014; “Who is Afraid of Mimesis ? Contesting the Common Sense of Indian Aesthetics through the Theory of “Mimesis” or Anikarana Vada” in Indian Aesthetics and the Philosophy of Art, ed. Arindam Chakrabarti, London: Bloomsbury, 2016. Currently, she is co-editing with Partha Mitter and Rakhee Balaram a comprehensive history of modern and contemporary Indian art in a volume titled 20th Century Indian Art.

Radha Mahendru is the Senior Curator & Program Manager at Khoj. She conceptualises, plans and executes residencies, exhibitions, seminars and public programming for Khoj along with other members of the curatorial team. She has been working with Khoj since 2015, leading its socially engaged art practice and fundraising projects. She was the lead curator of the Aesthetic Warfare: Digital Earth, Khirkee Festival, Landscape as Evidence : Artist as Witness and her recent curatorial projects include This Must Be True, Asia Assemble, Voices from the Margins, Khirkee Voice and The Khirkee Storytelling Project. She is the co-author of “The Horizon is An Imaginary Line,” a semi-fictional illustrated account of a young Somali woman’s encounters as a refugee in India. Trained as a filmmaker from Srishti School of Art and Design, she has directed and edited many commissioned and independent documentaries.

She has presented at the Asia Assemble, New Delhi, Creative Time Summit in Athens, Photo Kathmandu in Kathmandu.

She is interested in creative practices that intersect with ecology, gender and digital humanities. She is currently thinking about art and strategies of art making in the age of algorithms, digital infrastructures and fake news.

Monica Narula, Shuddhabrata Sengupta, and Jeebesh Bagchi formed Raqs Media Collective in 1992, after they passed out of the AJK Mass Communication and Research Center, Jamia Milia University in Delhi while working together on their first, now lost, 16mm film, Half the Night Left, and the Universe to Comprehend.

Raqs Media Collective follows its self-declared imperative of ‘kinetic contemplation’ to produce a trajectory that is restless in its forms and exacting in its procedures. Raqs articulates an intimately lived relationship with time in all its tenses through anticipation, conjecture, entanglement and excavation. Conjuring figures of cognitive and sensory acuteness, Raqs’ work reconfigures perceptional fields and demands that everyone looks at what they take for granted, anew.

Raqs has exhibited widely, including at Documenta, the Venice, Istanbul, Taipei, Liverpool, Shanghai, Sydney and Sao Paulo Biennales. Recent solo exhibitions (and projects) include – Pamphilos at Fast Forward Festival 6, Athens (2019); Still More World at Arab Museum of Modern Art, Doha (2019); Twilight Language at Manchester Art Gallery (2017-2018); Everything Else is Ordinary at K21 Museum for 21st Century Art, Dusseldorf (2018); If It’s Possible, It’s Possible, MUAC, Mexico City (2015) and Untimely Calendar at the National Gallery of Modern Art, Delhi (2014-2015). Exhibitions curated by Raqs include In The Open or in Stealth (MACBA, Barcelona 2018 - 2019); Why Not Ask Again (Shanghai Biennale 2016-2017); INSERT2014 (New Delhi, 2014) and The Rest of Now & Scenarios (Manifesta 7, Bolzano, 2008). They are the artistic directors of the forthcoming Yokohama Triennale (2020).

Raqs continue to be anchored in Delhi, persistently welding a sharp, edgily contemporary sense of what it means to lay claim to the world from the streets of that city. At the same time, Raqs articulates an intimately lived relationship with myths and histories of diverse provenances. Raqs sees its work as opening out the possibility of a conversation that embodies a deep ambivalence towards modernity and a quiet but consistent critique of the operations of power and property.

Director of Arts Maebashi. Associate professor at Tokyo University of Arts. Beside his practice at museum, He has curated “Demacation Akira Takayama/MeiroKoizumi”( Maison Hermès Le Forum, 2015), co-curated Aichi Triennale 2013, Media City Seoul 2010, Beautiful New World: Contemporary Visual Culture from Japan (“798” Dashanzi Art District / Guangdong Museum of Art, 2007). Also he was artistic director of Festival for Arts and Social Technology Yokohama [CREAM] 2009 and curator for Beppu Art Project 2012 and co-editor of "From Postwar to Postmodern, Art in Japan 1945-1989: Primary Documents"(Museum of Modern Art New York/ Duke University Press, 2012). As a senior curator at Museum of Contemporary Art, Tokyo(MOT), he has curated the exhibition Tadashi Kawamata: Walkway (2008). He worked for NTT InterCommunication Center (ICC) in Tokyo, where he organized the exhibitions Art Meets Media: Adventure in Perception (2005) and Possible Futures: Japanese Postwar Art and Technology (2005). He is also a founding member of Arts Initiative Tokyo (AIT).
Learning: locally engaged art projects of Arts Maebashi
While looking back on the projects of the past 6 years, I reflected what we learned through the art projects outside our museum.
It gives us the critical thinking on art and museums by connecting everyday experiences and urgent global issues such as rapid changes in contemporary society and the climate. I want to share the idea on how we can think about topics such as time, reciprocity, and expertise in order to understand more about the role of art and museum in Asia.

Foundation; Director of “Outsiders Factory”, a curators collective; selected important exhibition curatorial works include “Post-Actitud” (2011, Ex Teresa Arte Actual, Mexico DF), “South country, South of Country” (2012, Zero Station, Ho Chi Minh City & Howl Space, Tainan), “The Lost Garden” (2014, Eslite Gallery, Taipei), Taiwan International Video Art Exhibition 2014 “The Return of Ghosts” (Hong Gah Museum, Taipei), “I Don’t Belong” (2015, Galleria H., Taipei), “Wild Legend” (2015, Jumin Museum, Jinshan) , “Blue Bird in the Labyrinth: A Walk from Japanese Modern Art to Asia Contemporary Art Scene” (2016, Galerie Nichido Taipei), “Tabaco, Carpet, Lunch Box, Textile Machinery and Cave Men: the narratives of craftsmanship and technologies in contemporary art” (2017, Hong Gah Museum, Taipei), “Is/In-Land: Mongolian Taiwanese Contemporary Art Exchange Project” (2018, 976 Art Gallery, Ulaanbaatar, Kuandu Museum of Fine Arts, Taipei), “The Middleman, the Backpacker, the Alien Species and the Time Traveler” (2019, TKG+, Taipei).

Zarmeene Shah is an academic, and an independent curator and writer currently based in Karachi, Pakistan. Focusing on contemporary art and continental theory, she is particularly interested in issues of knowledge, truth and power, and within this the relationship between the body, the urban, and the political in art. With a BFA from the Indus Valley School of Art and Architecture (IVS) in Karachi in 2003, and an MA in Critical & Curatorial Studies from Columbia University as a Fulbright Scholar in 2010, Shah became one of the first professionally qualified curators in the country. Since then, she has curated and been involved in the production of several notable and often large- scale exhibitions of contemporary art and design, both institutionally and independently. She has previously served as Independent Consultant for South Asian Art for the CCA Derry-Londonderry (Northern Ireland), and Assistant Director and Curator at the Mohatta Palace Museum, Karachi. In 2017, Shah was appointed Curator at Large of the inaugural Karachi Biennale. She is currently Associate Professor and serves as Head of the Liberal Arts program at the Indus Valley School of Art & Architecture.