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 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)
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.
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.
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 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; 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).