Devika Singh is an art historian, critic and curator based in Paris. She is an affiliated scholar at the Centre of South Asian Studies of the University of Cambridge and a member of the Global Art Prospective at the Institut National d’Histoire de l’Art (INHA) in Paris. She is currently writing a book on artistic practices in post-independence India for Reaktion Books. Singh holds a PhD from the University of Cambridge and was the Smuts research fellow at its Centre of South Asian Studies. She has also held a fellowship at the Centre allemand d’histoire de l’art (Max Weber Foundation), an AHRC fellowship at the Kluge Center, Library of Congress, Washington DC, a Deutscher Akademischer Austausch Dienst (DAAD) fellowship at the Freie Universität, Berlin, and an André Chastel fellowship at the French Academy at Rome (Villa Medici). She has published extensively in journals, exhibition catalogues and magazines including Third Text, Journal of Art Historiography, Art History, Modern Asian Studies, frieze, Art Press and Take on Art and is currently working on several exhibitions on modern and contemporary art in South Asia.
Cosmin Costinas is the Director of Para Site, Hong Kong. He was co-curator of the 10th Shanghai Biennale (2014-2015), Curator of BAK, Utrecht (2008- 2011), co-curator of the 1st Ural Industrial Biennial, Ekaterinburg (2010) and Editor of documenta 12 Magazines (2005–2007). At Para Site, Costinas oversaw the institution’s relocation to a new home in 2015 and curated: Afterwork (with Freya Chou, Inti Guerrero, and Qinyi Lim, 2016); The World is Our Home. A Poem on Abstraction (with Inti Guerrero, 2015-2016); Sheela Gowda (2015); the conference Is the Living Body the Last Thing Left Alive? The new performance turn, its histories and its institutions (with Ana Janevski, 2014); Great Crescent: Art and Agitation in the 1960s— Japan, South Korea, and Taiwan (with Doryun Chong and Lesley Ma, which toured to the Mori Art Museum, Tokyo, 2013-2015 and MUAC, Mexico City, 2016); A Journal of the Plague Year (with Inti Guerrero, toured at The Cube, Taipei; Arko Art Center, Seoul; and Kadist Art Foundation and The Lab, San Francisco; 2013-2015); Taiping Tianguo, A History of Possible Encounters: Ai Weiwei, Frog King Kwok, Tehching Hsieh, and Martin Wong in New York (with Doryun Chong, toured at SALT, Istanbul; NUS Museum, Singapore; eflux, New York; 2012-2014), a.o. At BAK, he curated Spacecraft Icarus 13. Narratives of Progress from Elsewhere (2011).
Milovan Farronato is the Director and Curator of the Fiorucci Art Trust, for which he has developed the ongoing residential itinerant project Roadside Picnic and, since 2011, the yearly festival Volcano Extravaganza in Stromboli, which migrated to Naples in 2017 and travelled to Dhaka, Bangladesh for the Dhaka Art Summit 2018. With Paulina Olowska he initiated, in 2014, the symposium 'Mycorial Theatre' in Rabka, Poland, which in 2016 was held in São Paulo, Brazil. Further collaborations include the Magazine Sessions (2016) with the Serpentine Galleries. He also conceived The violent No! as part of the public programme of the 14th Istanbul Biennial, 2015. From 2005 to 2012, he was director of the non-profit organisation Viafarini and curator at DOCVA Documentation Centre for Visual Arts, Milan. From 2006 to 2010 he was Associate Curator of the Galleria Civica di Modena. He was also professor of Visual Cultures at CLADEM, University IUAV, Venice, from 2008 to 2015. Selected exhibitions curated by Farronato include Nick Mauss, Illuminated Window, La Triennale and Torre Velasca, Milan; Lucy McKenzie’s first solo show in Italy, La Kermesse Héroïque at Fondazione Bevilacqua La Masa, Venice; Si Sedes Non Is at The Breeder Gallery, Athens, 2017; Prediction at Mendes Wood, DM São Paulo, 2016; Peter Doig’s solo exhibition at Fondazione Bevilacqua La Masa, Venice, 2015; Christodoulos Panayiotou’s solo show at Kaleidoscope Project Space, Milan, 2014; and Arimortis at Museo del Novecento, Milan, co-curated with Roberto Cuoghi, 2013. Milovan Farronato is part of the curatorial team of the fourth Dhaka Art Summit and also sits in the Development Committee of the Chisenhale Gallery in London.
Sharmini Pereira is an independent international curator. She is the founder and director of Rakng Leaves and the Sri Lanka Archive of Contemporary Art, Architecure and Design. In 2017 she was appointed as Chief Curator, Lionel Wendt Memorial Fund Collection, Colombo. Selected curatorial projects include: Seven Conversations, Saskia Fernando Gallery, Colombo (2015); Garden of Ideas – Contemporary Art from Pakistan, Aga Khan Museum, Toronto (2014); Abraaj Capital Art Prize, Dubai (2011), Singapore Biennale (2006) and New Approaches in Sri Lankan Contemporary Art, National Gallery Colombo (1994). Her writing has appeared in Marg Magazine, South East of Now, Mousse Magazine, Guggenheim online, Art Asia Pacific, Groundviews and Imprint amongst others. She was a judge for the 2017 Geoffrey Bawa Award for Architecture and currently lives and works in Sri Lanka and New York.
Simon Castets is the Director and Curator of the Swiss Institute, New York. Along with Hans Ulrich Obrist, he is also the co-founder of the research project 89plus, which investigates the generation of artists born with the introduction of the World Wide Web, and was first introduced at DLD13. He holds an MA in Curatorial Studies from Columbia University, New York and a MA in Cultural Management from Sciences Po, Paris. Recently, he co-curated the group exhibition Champs Elysées with Julie Boukobza and Nicola Trezzi, at Palais de Tokyo, Paris.
Other recent projects include a solo exhibition of Sarah Ortmeyer at Federico Vavassori, Milan, the group exhibitions Cherry Picking at Karma International, Zurich, A Stone Left Unturned at Yvon Lambert, Paris, and Aftermath at Taka Ishii Gallery, Kyoto. His writing has appeared in numerous catalogues and periodicals including Mousse, PIN UP, Artforum, Flash Art and Kaleidoscope.
Vali Mahlouji is a London-based curator, writer and is currently the independent curatorial adviser to the British Museum on its modern and contemporary Iranian collection. Recently his work includes guest curator at FOAM, Amsterdam, Kaveh Golestan – The Citadel; co-curator at Musee d’Art Moderne de la Ville de Paris and MAXXI National Museum of XXI Century Arts, Rome, Unedited History: Iran 1960–2014; curator Photo London, Somerset House, Prostitute 1975-77; curator Whitechapel Gallery, The Utopian Stage. Recent publications have appeared in Encyclopædia Iranica; Asia Society Museum; Abraaj Group Art Prize; Darat al Funun; Sharjah Biennial; National Museum of Contemporary Art, Athens; Delfina Foundation; the London Middle East Institute; City University of New York; and The Guardian. His theatrical playscript translations have been staged by the Royal Court Theatre, the Barbican Centre, Théâtre de la Bastille, La Colline, Paris, and Dublin Theatre Festival, and broadcast by the BBC.
He is the founder of Archæology of the Final Decade, an ongoing research, curatorial and educational platform set up in 2010, which identifies, investigates and re-circulates significant cultural and artistic materials that have remained obscure, under-exposed, endangered, or in some instances destroyed. The first phase of this research has produced to exhibitions shown at Musée d’Art Moderne de la Ville de Paris, MAXXI, entitled, Restaging the Contested Space of the Festival of Arts, Shiraz-Persepolis (1967–77) Recreating Shahr-e No which centres around Kaveh Golestan’s photographs entitled Prostitutes (1975–77).
Shabbir Hussain Mustafa
Shabbir Hussain Mustafa is Senior Curator at the National Gallery Singapore, where he currently heads the curatorial team and oversaw Between Declarations and Dreams, a long-term exhibition that surveys art about the region from the 19th century to the present day. From 2013-2015, he was lead curator of Siapa Nama Kamu? (in Malay, What is Your Name?), the National Gallery’s other long-term exhibition that focuses on art in Singapore from the late 19th century onwards. Prior to joining the National Gallery, from 2007-2013, he was Curator (South-Southeast Asia) at the National University of Singapore Museum (NUS Museum), where his approach centred on deploying archival texts as ploys in engaging different modes of thinking and writing. It was at the NUS Museum that he initiated the critically acclaimed accumulative projects Camping and Tramping through The Colonial Archive: The Museum in Malaya (2011-2013), The Sufi and The Bearded Man: Re-membering a Keramat in Contemporary Singapore (2010-2012), and co-conceived the experimental space prep room | things that may or may not happen (2012 - ongoing). In 2013, he curated In Search of Raffles’ Light | An Art Project with Charles Lim, a three-year collaboration with the artist that tracked the immaterial, mundane and irreconcilable traces surrounding Singapore’s fractured relationship with the sea. He curated SEA STATE with Lim for the Singapore Pavilion at the 56th Venice Biennale. Mustafa writes often, at times about the methodological considerations for the rethinking of curatorial practice in Singapore, and is a member of the International Association of Art Critics, Singapore Section.
Amara Antilla is an Assistant Curator at the Solomon R. Guggenheim Museum, New York where she assisted on the retrospectives of Monir Farmanfarmaian (2015), V. S. Gaitonde (2014), and Lee Ufan (2011). She is also part of the curatorial team responsible for acquisitions and exhibitions focusing on contemporary art from South and Southeast Asia, Latin America, and the Middle East and North Africa under the auspices of the Guggenheim UBS MAP Global Art Initiative. She is one of the organising curators for the Latin American Circle, which supports programming and acquisitions related to modern and contemporary art from Latin America. Antilla was awarded an Asian Cultural Council grant for Art History (2015-16) and served as curatorial adviser for Rewind at the Dhaka Art Summit (2016). She studied Art History at Tufts University and the School of the Museum of Fine Arts, Boston and is currently pursuing graduate work in Art History at Hunter College at the City University of New York (CUNY).
Katya García-Antón is an English-Spanish curator, and Director of The Office for Contemporary Art Norway (OCA). García-Antón has been affiliated with several major international art institutions, including the Centre d’Art Contemporain, Geneva; the Museo Nacional Centro de Arte Reina Sofía, Madrid; the Museu d’Arte Moderno de São Paulo, Brazil; the Institute of Contemporary Art, London. García-Antón has had many curatorial triumphs, she contributed to the Spanish Pavilion at the Venice Biennale in 2011, the flagship exhibition of the very first edition of the Qa- landiya International Biennial in Palestine in 2012 and was the curator for the Norwegian Pavilion at 56th Venice Biennale 2015.