Dhaka Art Summit
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GUEST CURATORS

 
 

Devika Singh

Devika Singh is an art historian, critic and curator who works on the global reconfiguration of modernism with a focus on South Asia. She is a fellow at the Centre allemand d’histoire de l’art, Paris (Max Weber Foundation) as well as 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. 

Devika Singh holds a PhD from the University of Cambridge and was the Smuts research fellow at the Centre of South Asian Studies at Cambridge. She has also held 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 of the INHA at the French Academy at Rome (Villa Medici). She has published extensively in journals, exhibition catalogues and magazines including frieze, Art Press, Take on Art and Art Asia Pacific and is working on several exhibitions on photography and contemporary art in South Asia.

 

Cosmin Costinas

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, toured at 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

Milovan Farronato is Director and Curator of the Fiorucci Art Trust, developing the residential itinerant project Roadside Picnic and the yearly festival Volcano Extravaganza in Stromboli. With Paulina Olowska he initiated the symposium Mycorial Theatre in Rabka, Poland, which this year will move to Pivô – an independent art space and non-for profit, based in Edificio Copan in downtown São Paulo. He conceived The violent No! as part of the public programme of the 14th Istanbul Biennial, 2015. Previous positions held include: 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, Treviso, Venice from 2008 to 2015. Recent exhibitions curated by Farronato include Predictionat Mendes Wood, DM Sao Paolo, 2016; Peter Doig’s solo exhibition at Fondazione Bevilacqua La Masa, Venice, 2015; Intim Im Team by Lucy Mckenzie and Josephine Reisch at White Cubicle, London, 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.

 
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RUNA ISLAM

Runa Islam’s work challenges and explores the structures, materiality and histories of representation and visuality, often in relation to cinematographic and architectural concerns. Adopting diverse methods and approaches in the presentation of her work, she disrupts, alters and enhances visual and architectural space, shifting perception and drawing attention to the act of seeing.

In her last film works, the artist uses an increasingly pared-back filmic language to delve ever more deeply into questions of visuality, perception and the role of lens-based technologies in mediating how we see and understand the world. Sequences of almost abstracted images suggest the material aspects of film, the shimmer of celluloid or the grains of silver halide crystals. Her visual syntax is often so restricted that the image is all but denied. What comes to the fore is the act of looking itself. In Magical Consciousness (2010), for example, the back of a Japanese folding screen serves as an allegory for ‘the silver screen’, while This Much is Uncertain (2009-2010) relates the grain of film stock to the glittering volcanic sand found on the Italian island of Stromboli. Islam’s recent work, Emergence (2011), is a 35 mm film of a photographic print being processed in a dark room. Stripped back to a stark monochrome palette of black and red, it considers the contradictory yet closely linked relationship between the still and the moving image. Her recent works highlights the material shifts of film and includes Islam’s process of reclaiming the silver from exposed celluloid to create cast sculptures and drawings.

Runa Islam was born in 1970 in Dhaka, Bangladesh. She lives and works in London, UK. Solo exhibitions include Verso, SFMoma (2016), Anatomical Study, Kiosk, Ghent (2014), Dogs Devouring Horses/The Move, Arter, Istanbul (2012), Projects 95: Runa Islam MOMA, New York (2011), Runa Islam, Site Santa Fe, Santa Fe, New Mexico (2011), Runa Islam, Musée d’art Contemporain de Montréal (2010) and Museum of Contemporary Art, Sydney (2010). She has participated in many group exhibitions, including Looking around corners, Turner Contempory, Margate (2016) Fassbinder Now, Martin Gropius Bau (2015), The Present of Modernism, Mumok (2014), the 11th Sharjah Biennial (2013), 6th Asia Pacific Triennale, Queensland Art Museum, Brisbane (2009), The Cinema Effect, Hirshhorn Museum and Sculpture Garden, Washington (2008) the Turner Prize, Tate Britian (2008), Brave New Worlds, Walker Art Center, Minneapolis (2007) the 51st International Venice Biennale (2005), More than This! Negotiating Realities, Göterborg International Biennale for Contemporary Art (2005) and 8th International Istanbul Biennial (2003).

 

Sharmini Pereira

Sharmini Pereira is an independent international curator. She is the founder and director of two internationally recognised Sri Lankan based organisations, Rakng Leaves, an award winning curatorial organisation, which commissions and publishes book projects with international artists and the Sri Lanka Archive of Contemporary Art, Architecure and Design. In 2014 she curated the Garden of Ideas – Contemporary Art from Pakistan as Guest Curator for the opening exhibiton of the Aga Khan Museum in Toronto. In 2011 she was the international guest curator of the Abraaj Capital Art Prize and in 2006 she co-curated the first Singapore Biennale.

Her writing has appeared in South East of Now, Mousse Magazine, Guggenheim online, Art Asia Pacific, Groundviews and Imprint amongst others. She is a judge for the forthcoming 2017 Geoffrey Bawa Award for Architecture and currently lives in Sri Lanka and New York.

 

Simon Castets 

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

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; The Guardian. His book, Perspectives on the Festival of Arts, Shiraz-Persepolis is due in 2016. 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 retracing and reintegration of these materials into cultural memory and discourse, counteracts the damages of censorship and systemic erasures, and fills in gaps in history and art history. 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 curated SEA STATE featuring artist Charles Lim Yi Yong for the Singapore Pavilion at the 56th Venice Biennale. He is Senior Curator at the National Gallery Singapore, where he currently heads the curatorial team overseeing 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 19thcentury 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. 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

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 organizing 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

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 Pavillion at 56th Venice Biennale 2015.