2023 Speakers

  • Inti Guerrero

    Inti Guerrero

    Inti Guerrero is the co-Artistic Director of the 24th Biennale of Sydney. He was tutor of the Curatorial Studies postgraduate programme at the Royal Academy of Fine Arts- KASK, Ghent (2021-2023). He was the Artistic Director of bap - bellas artes projects in the Philippines (2018-2022). He was the Estrellita B. Brodsky Adjunct Curator at Tate, London (2016-2020), curator of the 38th EVA International, Limerick (2018), co-curator of Dakar Biennale, La Biennale de l’Art africain contemporain (2018); and Artistic Director of TEOR/éTica, San Jose (2011-2014).
     
    Guerrero has been a tutor, guest professor and lecturer at universities and art schools in Europe, the United States, Asia and Latin America, including: Chelsea College for the Arts-University of London; CCA-California College for the Arts, San Francisco; Bard College, New York; Hong Kong University; and Studium Generale Rietveld Academie, Amsterdam, where he co-curated the academic and public programme in 2011. He has also written for exhibition catalogs and journals including Afterall, Metropolis M, Manifesta, Art Asia Pacific and ArtNexus.
     
    As an independent curator he curated or co-curated the exhibitions: ‘Myth Makers’, Sunpride Foundation - Tai Kwun, Hong Kong (2022); ‘Institute for Tropical and Galactical Studies’ in Yokohama Triennale 2020, Yokohama Museum of Art; ‘Ming Wong. Your Special Island’ at CCP Cultural Center of the Philippines, Manila (2019); ‘Long Green Lizards’ at Dakar Biennale, La Biennale de l’Art africain contemporain, Dakar’ (2018); ‘Fraccionar’ at Casa Luis Barragán, Mexico City (2018); ‘Soil and Stones, Souls and Songs’ (touring at MCAD, Manila, Para Site, Hong Kong, and Jim Thompson Art Center, Bangkok, 2016-2017); ‘Afterwork’ (touring at Para Site, Hong Kong; and ILHAM, Kuala Lumpur, 2016-2017); ‘The World is Our Home. A Poem on Abstraction,’ Para Site, Hong Kong (2015); ‘A Chronicle of Interventions,’ Tate Modern, London (2014); ‘A Transatlantic Affair. Josephine Baker and Le Corbusier,’ Museum of Art of Rio-MAR in Rio de Janeiro (2014); ‘A Journal of the Plague Year’ (touring at Para Site, Hong Kong; The Cube, Taipei; Arko Art Center, Seoul; and Kadist Art Foundation and The Lab, San Francisco; 2013-2015); ‘The City of the Naked Man,’ Museum of Modern Art of São Paulo (2011); ‘Light Years. Cristina Lucas’ (touring at Centro de Arte 2 de Mayo, Madrid; Carrillo Gil Museum, Mexico City; and Museo Amparo, Puebla 2010-2011); ‘Flying Down to Earth’ (touring at the Museum of Contemporary Art of Vigo; and FRAC Lorraine, 2009-2010); ‘Duet for Cannibals’ at Tropenmuseum, Amsterdam; ‘Eppur si Muove,’ Fondazione Sandretto Re Rebaudengo, Torino (2009). a.o.
     
    Photo credit: Joshua Morris
  • Mayank Mansingh Kaul

    Mayank Mansingh Kaul

    Mayank Mansingh Kaul (He/Him) is a New Delhi-based independent researcher, writer and curator with a focus on post colonial histories of Indian textiles. He is a graduate in textile design from the National Institute of Design, Ahmedabad.
     
    Exhibitions that he has curated include Fracture — Indian Textiles, New Conversations (Devi Art Foundation, Gurugram, 2015); The Art of Gold (Bikaner House, 2017); Abraham & Thakore —  A Retrospective, 25 Years (New Delhi, 2017); Crossroads — Textile Journeys with Ritu Kumar (India Habitat Centre, New Delhi, 2018); New Traditions — Influences & Inspirations in Indian Textiles, 1947 to 2017 (Jawahar Kala Kendra, Jaipur, 2018); Meanings, Metaphors — Handspun & Handwoven in the 21st Century (The Registry of Sarees, Chirala-Coimbatore-Bengaluru, 2018-19); Red Lilies, Water Birds — The Saree in Nine Stories (The Registry of Sarees, Hampi, 2022); Fine Counts — Indian Cotton Textiles and Vayan — The Art of Indian Brocades(National Crafts Museum & Hastkala Academy and Devi Art Foundation, New Delhi, 2022-2023) as well as Woven Narratives (Hampi Art Labs, JSW Foundation and Devi Art Foundation, Hampi, 2023). Upcoming exhibitions that he is curating include Kāth Padar — Paithani & Beyond (TVAM Foundation, Paithan), Pat-Bandha — The Art of Indian Ikat (National Crafts Museum & Hastkala Academy and Devi Art Foundation, New Delhi) and a Survey of Indian contemporary embroideries (Sutrakala Foundation in association with JDH, Jodhpur). He is the editor of Baluchari — Tradition & Beyond (Weavers Studio Resource Centre, 2016), Cloth and India — Towards Recent Histories, 1947 to 2015 (Marg, 2016), Take on Art Design (2012), Take on Art Fashion (2019) and Sutr Santati — Then, Now, Next (Baldota Foundation, 2023). His writings on Indian textiles, design and fashion have, further, been published in India and abroad and he has lectured widely on the subjects. He is Contributing Editor for Architectural Digest India, Member of the Academic Council at Museum of Art & Photography (MAP), Bengaluru, Member of the Arts Advisory Council (South Asia) at The Asia Society and was Advisor to the Dr Bhaudaji Lad Museum, Mumbai on its We Wear Culture initiate — a collaboration with the Google Arts & Culture.
     
    Photo credit: Jasmeet Arora
  • Natalie King

    Natalie King

    Natalie King is an Australian curator, writer and Professor of Visual Arts, Victorian College of the Arts at the University of Melbourne. Recent projects include Curator of Yuki Kihara: Paradise Camp, Aotearoa New Zealand at the 59th Venice Biennale 2022 and Powerhouse Museum, Sydney 2023; Reversible Destiny: Australian and Japanese Contemporary Photography at the Tokyo Photographic Art Museum as part of the 2022 Olympics Cultural Programme; and Series Editor of Mini Monographs with Thames & Hudson. 

    In 2017, King was Curator of Tracey Moffatt: My Horizon, Australian Pavilion, the 57th Venice Art Biennale. She has curated exhibitions for the Singapore Art Museum; the National Museum of Art, Osaka; National Gallery of Indonesia, Jakarta; the Museum of Contemporary Art, Sydney; Kaohsiung Museum of Fine Arts, Taiwan, amongst others where she has explored Indigeneity, intersectionality, feminism and new media. She has contributed to numerous publications including Phaidon books, Flash Art International, LEAP, Ocula and Art and Australia. She is President of AICA-Australia (International Association of Art Critics, Paris). 

     

    In 2020, King was awarded the Medal of the Order of Australia (OAM) for "service to the contemporary visual arts". In 2021, she was awarded a University of Melbourne Excellence Award: The Patricia Grimshaw Award for Mentor Excellence. 

    www.natalieking.com.au 

    Photo credit: Luke Walker

     

  • Renan Laru-an

    Renan Laru-an

    Renan Laru-an is a researcher, curator, and the artistic director of SAVVY Contemporary in Berlin. He creates exhibitionary, public, and research programs that study ‘insufficient’ and ‘subtracted’ images or subjects at the juncture of development and integration projects.

    A founding member of the Philippine Contemporary Art Network (PCAN), a recently initiated public institution for contemporary art housed at the University of the Philippines Vargas Museum, he serves as the Public Engagement and Artistic Formation Coordinator since 2017. Laru-an has (co-)curated festivals and biennials including the 2nd Biennale Matter of Art, Prague (2022); the 6th Singapore Biennale, Singapore (2019);  the 8th OK.Video—Indonesia Media Arts Festival, Jakarta (2017); and the 1st Lucban Assembly, Quezon (2015). Other exhibitions are Sourcebook: Mandy El-Sayegh and Helena Hunter, LUX, London (2022); But Ears Have No Lids: Maayan Amir and Ruti Sela, PCAN, Manila (2021); Motions of this Kind, SOAS, London (2019); A Tripoli Agreement, Sharjah Art Foundation, Sharjah (2018); The Artist and the Social Dreamer, Forecast Festival, Haus Der Kulturen Der Welt, Berlin (2017); From Bandung to Berlin: If all of the moons aligned, SAVVY Contemporary, Berlin (2016); among others.

    Renan is editor of the anthology Writing Presently (PCAN, 2019), and with titre provisoire, he co-edited Turning Points: Coincidences in Prepositions (2022) for the Harun Farocki Institut’s Rosa Mercedes Journal. Ongoing project is Promising Arrivals, Violent Departures, a theoretical study on the formation of the artistic, the curatorial, and visual cultures in the exhibitionary heritage and practices of non-metropolitan Mindanao, the southernmost region of the Philippines.

    Laru-an’s scholarship has been supported by the Foundation for Arts Initiatives, the National Commission for Culture and the Arts, and other fellowships. He was Curatorial Advisor to the 58th Carnegie International.
    Between 2012 and 2015, Renan directed the now-offline, multidisciplinary and virtual organization DiscLab | Research and Criticism.

    Laru-an was born and grew up in Sultan Kudarat, he now  lives in Berlin.

    Photo courtesy: Singapore Art Museum
  • Shubigi Rao

    Shubigi Rao

    Artist and writer Shubigi Rao’s fields of study include histories and lies, literature and violence, libraries and archival systems, ecologies and natural history. Her films, art, books, and photographs look at current and historical flashpoints as perspectival shifts, and examine contemporary crises of displacement, whether of people, languages, cultures, or knowledge bodies. Since 2014, she has been working on Pulp: A Short Biography of the Banished Book, her decade-long film, book and visual art project about the ideologies behind censorship and book destruction. Rao's works have been exhibited in international biennales and institutions, including the 10th Asia-Pacific Triennial, Brisbane, Australia (2021-22), a solo show in 2023 at Rossi and Rossi Gallery, Hong Kong, and another upcoming solo at Rockbund Art Museum, Shanghai, China. 
     
    In 2022 she represented Singapore at the 59th Venice Biennale (Arte), Italy. She has won numerous accolades for her visual art practice and literary works, including the Singapore Literature Prize, and the APB Signature Art Prize – Juror’s Choice Award. Rao was the Artistic Director for the Kochi-Muziris Biennale 2022-23.
    Photo credit: Alfonse Chiu
  • Sharareh Bajracharya

    Sharareh Bajracharya

    Sharareh Bajracharya is an art educator and one of the founding members of the non-profit Srijanalaya. Her life has become about bringing together artists and educators to foster the curiosities and joy of young children, young adults, and communities around them. She also teaches as a Visiting Faculty at Kathmandu University Department of Art and Design and the School of Education and has edited/produced children’s books. An equal fascination with art management led her to be the Director of the non-profit art exhibition Kathmandu Triennale 2077.
  • Sohrab Hura

    Sohrab Hura

    Sohrab Hura (b.1981) lives and works in New Delhi, India. His work with drawings, film, photographs, sound and text are part of fluid relationship with the ‘Image.’ Many of his works attempt to question a constantly shifting world and his own place within it. Family and Illness reside at the heart of the photobooks Life Is Elsewhere and Look It’s Getting Sunny Outside!!! Similar reflections on the everyday ordinariness are also explored with pastel drawings in Things Felt But Not Quite Expressed. On the other hand the experimental film The Lost Head & The Bird looks directly at the infrastructure of power and systems and the role of story-telling within it. Sohrab has expressed the hope that his work can be “experienced like a tree” with deep roots: each work is a separate branch, and “no matter how different from the neighbouring ones,” each is “connected to the other branches by a single trunk.”
     
    He has self-published five books under the imprint UGLY DOG out of which the book  The Coast won The Aperture - Paris Photo PhotoBook of the Year Award 2019 and the book Look It’s Getting Sunny Outside!!! was shortlisted for the same award in 2018. The film Bittersweet (2019) was awarded the Principal Prize of the International Jury at the 66th International Short Film Festival Oberhausen 2020. The Lost Head & The Bird (2017) had previously won the NRW Award at the 64th International Short Film Festival Oberhausen 2018.
     
    Photo credit: Sheila Zhao
     
  • Jacinta Kerketta

    Jacinta Kerketta

    Jacinta Kerketta is a journalist, well known poet, writer and activist. She belongs to Oraon Adivasi of Jharkhand. Three of his poetry collections have been published. And it is translated into many Indian and foreign languages. She has not only documented the struggle of Adivasi society, their perspective in his creative writings but also shared this aspect among people in many countries including India. In 2022, Forbes India included her in the list of 22 self-made women of the country. In 2014, she was awarded the Voice of Asia Recognition Award by Asia Indigenous Peoples Pact, Thailand. She is currently working for the education of Adivasi youth in the villages of Jharkhand. She is also doing creative writing work for children with association of cycle magazine, Ektara trust, Bhopal.
  • Natasha Ginwala

    Natasha Ginwala

    Natasha Ginwala is a curator, researcher and writer, co-curator, Sharjah Biennial 16 (2023-25), artistic director of Colomboscope, Sri Lanka since 2019 and associate Curator at Large at Gropius Bau, Berlin (2018 – 2024). She was also artistic director of the 13th Gwangju Biennale with Defne Ayas (2021). Ginwala has been part of curatorial teams of 8th Berlin Biennale for Contemporary Art (2014), Contour Biennale 8, documenta 14 (2017), Taipei Biennale 2012 and co-curated several international exhibitions including at e-flux, Sharjah Art Foundation, Hamburger Bahnhof - Museum für Gegenwart, ifa Gallery, KW Institute for Contemporary Art, L’ appartement 22, Muzeum Sztuki w Łodzi, MCA Chicago, 56th Venice Biennale, SAVVY Contemporary and Zeitz MOCAA. Ginwala is a widely published author with a focus on contemporary art, visual culture, and social justice.
     
    Photo credit: Victoria Tomaschko