Curatorial Programme
Curatorial Programme


Eugene Hannah Park

Eugene Hannah Park(1992, South Korea) explores the possibility of learning by collective minds. Her practices intersect different histories and localities, creating schisms and holes in the homogenous hegemony. She curates and produces tools and platforms as an ingredient to share questions and translate worlds; and is interested in collaborating with diverse cultural practitioners to create the carrier of plural futurity. Throughout the year in de Appel, Eugene anticipates connecting different curatorial languages of peers hoping this will lead to constructing new constellations. 

She recently curated Arecibo (2021) in Seoul, questioning the radical imaginations that reshape reality based on the research of speculative fiction and science fiction. Eugene is the recipient of the Doosan Curatorial Workshop (2021) and ARKO Creative Academy Art Council of Korea (2020), and worked in institutions as an exhibition coordinator at the Seoul Museum of Art and ARKO Art Center. She also continues to work as part of collectives such as Against The Dragon Light (ADL), a research project that seeks to find the socially-engaged practices in the Four Asian Dragons (South Korea, Singapore, Taiwan, and Hong Kong), Care for Collective Curatorial (CCC), an experimental learning platform that explores ideas of care, collectivity and curatorial thinking, and Asian Feminist Studio for Art and Research (AFSAR). 

Eugene’s participation in the Curatorial Programme is supported by Arts Council Korea.

Billy Fowo

Billy Fowo (1996, Cameroon) is a curator and writer based in Berlin and working at SAVVY Contemporary – The Laboratory of Form-Ideas, Germany.

Very much grounded in the idea of the Laboratory, for Billy Fowo, rethinking and stretching the idea of the exhibition as a format, forms an essential part of his research and curatorial approach. With points of interest in various fields and disciplines such as the sonic, linguistics and literature, Billy Fowo questions through his practice what is considered knowledge and the spaces in which we find knowledge. Throughout the year at de Appel, he hopes to connect, exchange and learn from the other participants’ practices, and the possibilities Amsterdam offers as an intersectional point.

Recently, he co-curated projects such as Unraveling The (Under-) Development Complex, An Ode to Walter Rodney’s “How Europe Underdeveloped Africa”, 50 Years On (1972 - 2022), SAVVY Contemporary, Berlin (2022),  Wata Go Lef Stone, On the Perpetuity of Accara Across the Oceans, an offering within A Parábola Do Progresso, Sesc Pompeia, São Paulo (2022), ENIGMA #59: ROMAN – a retrospection on / by Paris-based artist Bili Bidjocka, SAVVY Contemporary, Berlin (2021). Billy Fowo is one of the coordinators of SAVVY Records – one of the newly founded SAVVY Pillars.

Jean-Michel Mabruki Mussa

Jean-Michel Mabruki Mussa (1999, Democratic Republic of the Congo) is a curator and researcher based in Amsterdam. His interests currently lie in the different genealogies of human displacement globally and the varying contexts which brought about these migratory routes. He explores the potential of the exhibition format and the ‘contemporary arts discourse’ in bringing about infrastructural and institutional change. Finally, Jean-Michel is excited by the possibilities of peer-learning and the merging of localities fundamental to de Appel’s institutional identity.

Marina Christodoulidou

Marina Christodoulidou (Cyprus, 1991) is a researcher and curator based in Nicosia. Traversing curatorial formats, her practice emerges from critical, artist-led infrastructures and self-organized initiatives. Her projects often take the form of discursive exhibitions, writing, socially engaged practice and architecture. Marina's decolonial reading of Cyprus history and the complexities of its partition act as a departure point for her research and approach. Through de Appel CP, together with her peers, she is interested in exploring working methods that confabulate and perform collective curatorial practice.

Marina has previously worked for the Cyprus Pavilion at the Venice Art Biennale (2015-19), and co-curated the Anachoresis project which represented Cyprus at the Architecture Biennale (2021). Anachoresis  proposed  the table as an object which projects a spatial protocol of sociality. Selected projects include hypersurfacing (2019) at NiMAC in Nicosia, an exhibition and a forum showcasing the synergies and plurality of contemporary art practices in Cyprus and internationally. The Broken Pitcher (2020-) is an ongoing collaborative project that re-enacts an eviction story, with the colonial history of debt as its backdrop, and seeks out potentials for interacting with it. TBP has been presented in public squares across Cyprus, at Thkio Ppalies, Nicosia; Beirut Art Center; GfZK, Leipzig.

Meghana Karnik

Meghana Karnik (1989, United States) works across modalities as a curator, arts administrator, and writer; exploring paradoxes between art and social change, belief and technology, lived experience and institutional process. For Meghana, curating is shaped by relationships—to people, infrastructures, and resources. She has been researching, “How do we relate in a culture without fact, but only of wordplay?” through Process-As-Practice at The Luminary (St. Louis). At de Appel, she seeks to learn from colleagues building support structures and autonomy into the process of making art public.  

Meghana’s recent curatorial projects include Tamar Ettun: How To Trap A Demon (2022), presenting the artist’s research into somatic empathy, talismanic objects, and astrology as storytelling; and TITLE TBD (2020), a group exhibition which viewed failure as a seed to reimagine artistic communities, emphasizing peer support and the solidarity economy. 

From 2021-2022, Meghana was Manager, Grants & Artist Initiatives at Art Matters Foundation (New York) supporting  Artist2Artist, a grant program that shifts philanthropic power to artists. From 2019-2020, she was Associate Curator for FRONT International 2022 (Cleveland). From 2015-2019, she was Program Manager and later, Associate Director of The Elizabeth Foundation for the Arts Project Space (New York), a curatorial incubator presenting exhibitions and SHIFT: A Residency for Arts Workers.

Meghana’s participation in the Curatorial Programme is made possible through an NAF Cultural Grant from The Netherland-America Foundation.

Curatorial Mentors

Catalyst Mentors of the Curatorial Programme 2023: Yaniya Lee (Mentor for writing & reflection), Kris Dittel (CP Alum Mentor), Maria Magdalena Campos Pons and Tropical Tapwater. They are further introduced below.

Yaniya Lee's writing, research and collaboration focus on the ethics of aesthetics. She was a member of the editorial team at Canadian Art magazine from 2017-2021, and now edits at Archive Books. She taught Art Criticism at the University of Toronto from 2018-2021 and is currently a tutor in the Critical Inquiry Lab at the Eindhoven Design Academy and the Roaming Academy at the Dutch Art Institute. Lee frequently works with collaborators on symposiums, programs, and workshops. She has written about art for museums and galleries across Canada, as well as for Vogue, Flash, FADER, Art in America, and Vulture.

At de Appel, Lee looks forward to using writing as a tool to reflect on what aesthetics do, and the ways in which we must account for the many contexts that influence the production and presentation of creative practice.

Kris Dittel is an independent curator, editor and writer based in Rotterdam. Drawing on her background in economics and social sciences, in her curatorial practice she pays attention to the social, political and economic context of her work. Her long-term research projects materialise as exhibitions, publications, performances, lectures or other public events. Her most recent exhibition and publication project includes Unruly Kinships at Temporary Gallery CCA in Cologne, co-curated with Aneta Rostkowska. Kris co-edited The Material Kinship Reader with Clementine Edwards (Onomatopee, 2022), and the first issue of Spatial Folders on the topic of extraction and extractivism with Golnar Abbasi (MIARD, Piet Zwart Institute, 2023), among other publications.

As alumni of the Curatorial Programme, Kris hopes to utilise her experience and guide the participants through this demanding, but also enriching and joyful process that the CP meant for her, with attention to processes of collective learning and working together.

María Magdalena Campos-Pons’s body of work grapples with the coordinates of diasporic identity formation: migration, displacement, collective memory, spirituality, and gender. She is a founding member of the Intermittent Rivers, a biennial project in Matanzas, Cuba; Engine for Art Democracy and Justice at Vanderbilt University, Nashville, TN; and When We Gather, a multifaceted art project celebrating the elemental role women have played in the United States. Campos-Pons is the recipient of many grants and awards, including the Perez Prize from the Perez Art Museum Miami (2021); Anonymous Was a Woman Award (2018), among others. She received a BFA in painting from the Higher Institute of Art, Havana (1985) and an MFA in painting and media arts from the Massachusetts College of Art, Boston (1988).

Tropical Tap Water is a study group/band consisting of Daniel Aguilar Ruvalcaba, Simnikiwe Buhlungu, Diana Cantarey, Julian Abraham “Togar”, planted and watered at the Rijksakademie van Beeldende Kunsten, Amsterdam in 2020. Sometimes we read [very difficult] theoretical texts together, sometimes we go on train ride adventures to see art together, sometimes we don’t see one another, sometimes we met on Zoom, sometimes we jam together. As of now, we are busy with writing songs for our album while thinking on how we can still continue studying and playing music together.

We are professional jammers, open for hire for birthday parties, weddings, exhibitions, mournings, festivals and what not. Our dream is to play in a conference.

selection committee

Riksa Afiaty (Curator, Indonesia), Övül Durmusoglu (Former CP participant, Curator and writer, Berlin), Nicoline van Harskamp (Artist & Professor for Performative Art, Munster) Edwin Nasr (Former CP Participant and fellow, curator at CCA Berlin), Huib Haye van der Werf (Interim Director and Curator, Amsterdam), Liza Nijhuis (Curatorial Programme Coordinator, de Appel, Amsterdam)

Final outcome: Hope is a Discipline


Melissa Appleton

Melissa Appleton (1983) is a producer, curator and spatial designer. She grew up near Newport, where the River Usk meets the tidal Severn Estuary, at the edge of industrial South Wales. Based in the Welsh Borders, Melissa is currently the Creative Director of Peak Cymru, an arts organisation collaborating with artists and young people to undertake ‘the gentle work of the future’ in dialogue with the complexities, languages and colonial histories of its border region.

‘Melissa’s curatorial, spatial and research practice is based in enquiry, relationships, thinking through systems of design, place and function as well as warmth, collectivity and usefulness.’ Melissa is motivated by the potential of hyper-local knowledge at a time of intersecting global crises and is eager to learn from the lived experiences and practices of peers at de Appel.

Melissa has a background in architecture and prior to working with Peak Cymru developed site-responsive programmes where spatial interventions act as mechanisms to access alternative histories, dreams and languages. These include Writtle Calling/2EmmaToc (2012), a radio station in an Essex field, Tonight the World (2019), a collaboration with Daria Martin for Barbican Curve, London & CJM, San Francisco and Quite Suddenly Your Smile is an Architecture (2017), an itinerant exhibition of the publishing projects of poet Jeff Nuttall.


Melissa’s participation in the Curatorial Programme is made possible by financial support from Art Fund (Jonathan Ruffer Curatorial Grant) and Arts Council Wales International Opportunities Fund.

Ka-Tjun Hau

Ka-Tjun Hau (1990), or 家駿 meaning ‘well-minded family’ in Chinese, was born and raised in The Netherlands. He is interested in the dynamics that create an identity within a cultural diaspora, exploring the ‘hidden threads' that connect us to places, people, and stories. Ka-Tjun is committed to increasing Asian representation and visibility in media, film, and the arts and has worked for Pan Asian Collective, an organization and platform for, and by, creatives with Asian roots.

Ka-Tjun has a background in fashion and went on to complete a BA and MA degree in media studies at the University of Amsterdam. After completing a traineeship in 2017 at Foam, an international photography museum in Amsterdam. He started working as a culture scout for Amsterdams Fonds voor de Kunst where he supported artists to realize projects and mediated relationships with local institutions and audiences in Amsterdam. From this experience, Ka-Tjun believes in the value of artistic practices within their originating context, which may start small and local, but eventually can be supported on a larger scale through connectedness.


Since 2018, Ka-Tjun has been active as a photo editor for Hard//hoofd, a Dutch art and literature magazine where he works with photography talents and recent graduates. In the past years, he was a program coordinator at the cultural platform We Are Public where he worked together with artists and cultural practitioners to experiment with public program formats. Ka-Tjun looks forward to his participation and to engaging with the Nieuw-West area from a different perspective.

Monika Georgieva

Monika Georgieva (1993, Bulgaria) is an active body in Vienna's cultural scene, where she currently lives and works. With her background in urban planning and architecture (BA, MA), Monika sees our environment as an active, living organism in a state of ongoing metamorphosis. Since 2020, Monika has been running Laurenz together with the artist Aaron Amar Bhamra - an independent exhibition space in Vienna dedicated to artistic experimentation and discourse. Rethinking our current understanding of an exhibition and the shapes it could take in the future is at the core of Laurenz' approach.

Following the thread of de Appel's nomadic history and its active engagement with its surroundings excites Monika and brings her further in her research. Does the exhibition house of the future need its own fixed location, or can it act nomadically, regularly moving and changing its habitat? What would it look like? How would it act? And what would its social responsibilities be?

Before coming to Amsterdam, Monika assisted the curatorial team of the Association of Visual Artists Vienna Secession and worked at the Institute of Art and Design of Vienna University of Technology. Previously, she was also part of the architecture and urban planning studio StudioVlayStreeruwitz, working on the spatial design of the Austrian Pavilion at the 58th Venice Biennale in 2019.


Monika Georgieva’s participation in de Appel’s Curatorial Programme is supported by the Austrian Federal Ministry for Arts, Culture, the Civil Service and Sport (Bundesministerium für Kunst, Kultur, öffentlichen Dienst und Sport BMKÖS).

Chala Westerman

Chala Itai Westerman (1993) grew up in Groningen, the Netherlands and spent her first summers in Yonago, Tottori, Japan. In summer 2013 she moved to Amsterdam to study Information Science and Art History at the University of Amsterdam. After these academic years, she felt her sense of belonging weaken and decided to root herself for a period of time in Japan. In autumn 2019 she started her MA Contemporary Art History at the Vrije Universiteit Amsterdam but found it difficult to ground herself within the academic language of the programme. Seeking new ways to engage with art and its processes, rather than end product, Chala worked as Jennifer Tee’s studio assistant and in arts policy and funding at the Mondriaan Fund.


Chala’s Japanese-Dutch cultural background shapes her research interest in socio-cultural identity. During her research and production internship with De Appel in the summer of 2020 she investigated to how extent De Appel’s international reputation connects with diverse Dutch-speaking cultures. Her MA thesis focused on the agency and construction of online identities and called for rethinking the concept of an authentic and inclusive narrative. If (online) identity is created through storytelling, we might ask ourselves: do we still write our own stories?

Curatorial Mentor

Pádraic E. Moore is a writer, curator and art historian. He holds a BA in the History of Art and English Literature from University College Dublin (2004), an MA in Visual Art Practices from IADT, Dublin (2007) and completed CuratorLab, the postgraduate programme at Konstfack University, Stockholm (2010). Moore is a former resident of the Jan van Eyck Academy, Maastricht (2014-15).

Moore’s practice is shaped by the belief that visual art enables alternative modes of interaction in a world increasingly led by techno­logical rationality. Moore’s curatorial methodology is meticulous but subjective and is informed by an acute awareness of the artist’s individual position.

He is particularly interested in the format of the group exhibition as a platform for making collective, critical statements.

Moore was curator at Garage Rotterdam from 2019 to 2021 and led several new commissions in this role.

Other recent curatorial projects include Tour Donas, Lucy McKenzie’s first solo exhibition in Ireland at Temple Bar Gallery Dublin (2021).

He has organised curatorial projects in institutions including W139 Amsterdam, 1646 Den Haag, Irish Museum of Modern Art; Moderna Museet, Stockholm, Fondazione Sandretto Re Rebaudengo, Turin and Dublin City Gallery The Hugh Lane.

This position is supported and funded by Stichting Hartwig and Ammodo.

selection Committee

Special thanks to our jurors: Nav Haq, Zippora Elders, Iris Ferrer and David Smeulders; they interviewed candidates with CP Coordinator Liza Nijhuis and de Appel director Monika Szewczyk in March 2021.

Final outcome: super feelings.


Àngels Miralda

(1990) is an independent curator and art critic based in Terrassa, Catalonia. Àngels describes her curatorial practice as a secret politics of materiality with the belief that materials contain embedded meanings, relating to global chains of extraction, trade, and industry. Her recent exhibitions have drawn on art historical research into Arte Povera, neo-materialisms, and the roots of Installation Art to create parallels between artists' materials and global industry. She has realised residencies and new productions in volcanic craters and sulphuric pits with artists Regina de Miguel and Paul Rosero Contreras. Based on observations of how biotechnology interacts with our world as well as our own bodies in changing and sometimes violent manners, she has imagined speculative sculptural futures with artists Julia Varela and Andrej Škufca. Her projects with Débora Delmar have addressed matter in its consumer form as market commodity with economic and cultural repercussions. She has organized exhibitions at the Tallinn Art Hall, MGLC - International Centre for Graphic Arts in Ljubljana, Galerija Miroslav Kraljevic in Zagreb, the Museum of Contemporary Art of Chile, Museu de Angra do Heroísmo in the volcanic archipelago of the Azores, and the Latvian Centre for Contemporary Art. Her writing and art criticism have been published in ArtforumCollecteurs Magazine, and Arts of the Working Class. Àngels is an avid hiker who enjoys moving through lost paths and coming across new landscapes; her walking becomes a meditative practice where every site changes every sensitivity, creating entirely unique ways of thinking. 

Àngels Miralda’s participation in de Appel’s Curatorial Programme is supported by the Generalitat de Catalunya Iniciativa Cultural.

Edwin Nasr

(1994) lives and works in Beirut, Lebanon. He is the Assistant to the Director at Ashkal Alwan, a non-profit organization dedicated to artistic production, research, and study where – since 2017 – he has been taking part in the curatorial development of discursive programs, publications, and exhibitions. His current research deals with the interdependencies of critical infrastructures, ideological formations, and cultural production within the Arab region. His writings have appeared in Afterall (forthcoming), BidounThe Funambulistn+1Jadaliyya, and ArteEast Quarterly, and were commissioned by the Sharjah Art Foundation, Biennale de l’Image en Mouvement in Geneva, and MMAG Foundation in Amman. Edwin has worked on several editorial projects, including Beirut Art Center’s The Derivative and the inaugural Sharjah Architecture Triennial’s Rights of Future Generations. Additionally, Edwin sits on the editorial board of Journal Safar, Beirut’s biannual independent visual and design culture magazine, and regularly translates texts written in French and grounded in decolonial thinking. Wound Contra Empire, his ongoing archival project with artist Bassem Saad, examines the geopolitics of digital image-making, and was presented at Harvard University VES in Cambridge, the AA School of Architecture in London, STRUKTURA at Podium in Oslo, and Asia Contemporary Art Week: Field Meeting at Alserkal Avenue in Dubai. Edwin looks forward to joining rowdy reading groups, learning from local struggles against police violence, and biking across Amsterdam to Celine Dion’s Greatest Hits.

Edwin Nasr’s participation in de Appel’s Curatorial Programme is supported by Ashkal Alwan and the DOEN Foundation

Hera Chan

(1993) is not to be confused with Miss Hong Kong 2018. In Hong Kong, she was associate curator of public programmes at Tai Kwun Contemporary, director/ curator of Videotage, and researcher at the SEACHINA Institute, where she focused on socially engaged art practices in contemporary China. Committed to sustaining networks of solidarity and building media infrastructures, she co-founded Atelier Céladon in Montreal, speaking with diasporic people to socially engineer a future that is already possible. Hera has staged exhibitions and public programmes at Para Site and Spring Workshop in Hong Kong, UCCA Beijing, SAVVY Contemporary in Berlin, and spaces like articule, SBC Gallery of Contemporary Art, and Studio XX in Montreal. In 2019, she completed a residency at Artista x Artista in Havana with artist Xiaoshi Vivian Vivian Qin as the inaugural residents of the Guangzhou Times Museum's All The Way South exchange, and was a fellow of the RAW Académie Session 7 at the RAW Material Company in Dakar. She was editor-in-chief of Theoretically in the Gutter: A Manga Essay Collection and editor of Ruthless Lantern. Forthcoming, her writing will appear in Best! Letters from Asian Americans, and Ecologies of Darkness—Building Grounds on Shifting Sands. She has been invited to speak at Asia Contemporary Art Week: Field Meeting at the Asia Society in New York. In 2017, she co-founded Miss Ruthless International, a contemporary art network that mimics the infrastructure of diasporic beauty pageants. Hera is currently listening to Okay Kaya’s rendition of Believe, the recurring theme being: “Do you believe in life after love?”

Laura Castro

(1982) is an artist and cultural agent based in Santo Domingo, Dominican Republic. She engages with nature, architecture and history through artistic and curatorial practice. Castro is co-founder and co-director of the artist-run hybrid platform Sindicato, which combines the curatorial and commercial possibilities of an art space by proposing alternative forms of cultural production and exhibition making. With no permanent physical space, the project provides opportunities for artistic experimentation and generates links with new audiences while mobilizing collaboration between institutions, groups and individuals in its immediate context. She has been artistic director of several cross-disciplinary projects such as Tropical Ghosts, an investigation into the evolution of Santo Domingo’s central area and its impact on the current social life of the city, which was created in 2014 for the open call World Wide Storefront from the Storefront for Art and Architecture, New York. Its program includes site specific urban interventions, theoretical events and gatherings, an online archive and commissioned writing. Círculos is the name of her most recent project: a series of conversations between specialists from diverse fields and the wider community to reread history, discuss the present, and envision futures collectively. Everything’s a way of dancing.

Masha Domracheva

(1993) is a curator, researcher and cultural practitioner from Yekaterinburg, Russia. She holds a BA in Art History and a MA in Political Philosophy, both from the Ural Federal University. Masha’s work is focused on creating and sustaining environments for artistic and research initiatives in the Ural region. She was curator and coordinator at the Ural branch of the National Center for Contemporary Arts in Russia, and implemented public programs at the Yeltsin Сenter Art Gallery. Since 2015, she has been involved in production of the Ural Industrial Biennial of Contemporary Art. For the 4th and 5th editions of the Biennial she worked as a general coordinator of the Main Project and as assistant curator for Image as Witness / Capitalist Choreographies / the Persistent Word by João Ribas and For a Multitude of Futures: Overcome the Limits of Immortality by Xiaoyu Weng. In 2017, Masha initiated a long-term interdisciplinary project called MZhK-1980, which investigates the “Youth Residential Complex” — a social experiment that was implemented in Yekaterinburg in the 1980s. The project aims to build a historiography of the experiment and to see how that history impacts the present of the Complex and its inhabitants. Revolving around strategies for self-organization amongst communities, it questions the very possibility of collective existence within the current institutional structures. MZhK-1980 consists of extensive research, exhibitions, performative and public programmes, as well as site-specific interventions in the public space of the Complex. Masha looks forward to further exploring Amsterdam's Nieuw-West area, where she has already encountered fascinating echoes of the architecture of her native city Yekaterinburg.

Masha Domracheva’s participation in de Appel’s Curatorial Programme
is supported by the Embassy of the Netherlands in Moscow and the AVC
Charity Foundation in Moscow.

selection committee

Beatrix Ruf (Board of Directors, Hartwig Art Foundation, Amsterdam; Director Strategies and Programs, Garage Museum of Contemporary Art, Moscow), Charl Landvreugd (artist, Head of Research and Curatorial Practice at Stedelijk Museum Amsterdam), Hicham Khalidi (director of Jan van Eyck Academy), Nikolay Alutin (CP Alumnus 2018-2019 and CP Fellow 2019-2020), Liza Nijhuis (coordinator Curatorial Programme) and Monika Szewczyk (director de Appel)

indicated roles at the time of the selection process

Final Outcome: Formation Camp


Iris Ferrer

(Philippines, 1988) is a freelance cultural practitioner from Manila, Philippines. She has worked as a writer, researcher, project manager and curator across the field of contemporary visual arts and alongside Philippine and regional-based platforms and collaborators.

In her involvement with the largely-independent infrastructure of artistic communities such as Back to Square Juan, she developed strategies for cultural production, community engagement and collaborative curatorial work. Her involvement in attempts to renegotiate the position of VIVA ExCon, the longest running artist-led biennale in the wider Philippines art world, led her to the position of managing curator for its 2018 edition. Her work revisits Philippine cultural histories by enacting new approaches to archiving and exhibition-making in projects such as: POSTER/ITY: 50 years of art and culture at the Cultural Center of the Philippines and 100 years of Cesar Legaspi, a year-long multi-site centenary of National Artist Cesar Legaspi. She has also assisted in providing discursive platforms across the region with programs such as Mutable Truths for Ateneo Art Gallery’s 10-year anniversary exhibition with La Trobe University in Australia, and the Southeast Asian Residencies Meeting 2018, an international conference held at Roxas City, Capiz.

Iris Ferrer’s participation in De Appel’s Curatorial Programme is supported by the Asia-Europe Foundation-Prince Claus Fund for Women, the Manila visual arts community and other private individuals.

Sharmyn Cruz Rivera

(Puerto Rico, 1987) is a Puerto Rican independent curator and writer. Her research departs from meditations on human geography, radical manifestations of identity, and methodologies of collaboration. Most recently, Cruz Rivera served as Project Manager at Volume Gallery and as Associate Curator at The Green Lantern Press based at Sector 2337 in Chicago. During her time at Sector 2337, she assisted on exhibitions such as Lou Mallozzi’s site-specific sound installation, “1:1”, and Angelika Markul’s solo exhibition, “If the hours were already counted.” Cruz Rivera holds an MA in Arts Administration and Policy from the School of the Art Institute of Chicago and a dual BA in Art History and Modern Languages from the University of Puerto Rico. Sharmyn has been a resident at Ox-Bow School of Art and Artists’ Residency (Saugatuck, MI), Summer Forum for Inquiry + Exchange (Kaneohe, HI), Roots and Culture (Chicago, IL), ACRE (Steuben, WI), and was the recipient of the Gaylord & Dorothy Donnelley Foundation Curatorial Fellowship. Recent projects include the group exhibition, Corrosive Like Salt Water, at the Glass Curtain Gallery at Columbia College Chicago, An Image for a Vessel at the Gaylord and Dorothy Donnelley Foundation, La vista: mamihlapinatapai at The Franklin, Hinged Space at Terrain Exhibitions, and Fiction Within at Chicago Artists’ Coalition.

Sharmyn Cruz Rivera’s participation in De Appel’s CP is supported by The Netherland-America Foundation and the Chicago Friends Trust.

Juan Fernando López

(b. 1986, Colombia) is founder, director and curator-in-chief of the non-profit organization Plural Nodo Cultural (Bogotá). Since its inception in 2017, Plural has become a platform that reflects on new ways of thinking and approaching art. In doing so, it has enabled spaces for production, engagement and exchange among artists and the greater public.

Juan has also participated in numerous cultural projects around Colombia as independent curator, lecturer, organizer and artists’ advisor. His most recent curatorial endeavors include exhibitions such as “Third Space” (co-curator, 2019); “Neighboring South” in collaboration with Videobrasil (2018); and “OBRA” (2017), as well as “The 1st National Meeting of Art and Cookery” (2019), the first art festival in Colombia; and “Resistance Cuisine” (2018), a workshop that explores the role of food in communal acts of resistance.

Danai Giannoglou

(Greece, 1992) is an independent curator and writer based in Athens. She is the co-founder and curator of Enterprise Projects, a project space functioning independently and periodically since September 2015 in Athens, as well as the Editor of Enterprise Projects Journal, a publishing initiative by Enterprise Projects in the form of an online publication of newly commissioned theoretical and research essays in Greek with English translation. She has worked for public and private institutions in Athens and Paris, most recently (2018-2019) as Exhibitions Archive Coordinator at DESTE Foundation for Contemporary Art.

Beyond Enterprise Projects, Giannoglou has contributed texts for catalogues, artists’ publications, and she has curated exhibitions in Greece and abroad. She holds a BA in Theory and History of Art from the Athens School of Fine Arts and an MA in Cultural Management and Curating from Paris 1 Panthéon – Sorbonne University in Paris. And she has been a resident at Rupert, Lithuania in 2016 and the 8th Gwangju Biennale International Curator Course, South Korea in 2018. For 2018-2019, she is a recipient of the 2nd Stavros NIarchos Foundation’s Artist Fellowship Program (Curating) as well as the Onassis AiR Emergency Fellowship.

Danai Giannoglou’s participation in De Appel’s CP is supported by Onassis AiR, the (Inter)national Artistic Research Residency Program of the Onassis Foundation.

Naz Kocadere

(Turkey, 1990) is a curator, researcher and writer. She became engaged in the field as an exhibition docent at the 13th Istanbul Biennial (2013). Since then, her research interests include the intersections of language, pedagogy, and the futures of collective production and curating. Recently, she curated the group exhibition Meditations on self-togetherness that brought together video works of Özden Demir and Dila Yumurtacı at Bilsart in Istanbul (2019). She assisted in carrying out the program dedicated to managing the archive, research and discussion on useful art cases in Turkey, conducted in collaboration with Asociación de Arte Útil platform at the Office of Useful Art at SALT Galata in Istanbul (2018). Previously, she had co-organized Utilitarian efforts, non-utilitarian works, a group exhibition with works by Salwa Aleryani, Onur Ceritoğlu, Didem Erbaş, Borga Kantürk, Melisa King, Neslihan Koyuncu, Merve Ünsal and Dila Yumurtacı at MARSistanbul (2017). Naz also worked as an artist representative and gallery coordinator in Öktem&Aykut (2014-2016), whilst assisting the production and research procedures of exhibiting artists such as Can Altay, Aslı Narin and Lara Ögel. Having received her BA in Visual Communication Design from Izmir University of Economics (2012), Naz continued her graduate studies with a focus on audience development at SALT in Istanbul and Witte de With Center for Contemporary Art in Rotterdam towards a Cultural Management MA at Istanbul Bilgi University (2016). She is a member of AICA Turkey and her writings have appeared in Art Unlimited, Borusan Contemporary Blog and SALT Online Blog among others. 

“Naz Kocadere’s participation is supported by SAHA – Supporting Contemprary Art from Turkey, within the scope of SAHA Studio”.

Thomas Butler

(Ireland, 1985) has developed a practice as an independent curator and writer over the past six years. In the summer of 2015 he began a nomadic curatorial platform called ROOM E-1027, which adopted the legacy of Irish architect and designer Eileen Gray and her villa E-1027 as context. Its first iteration was in a small apartment in Paris and its second in Berlin where Butler was invited to programme and run the project space Center. As a writer and critic, Butler has contributed reviews, catalog essays and interviews to a number of international magazines, including Flash Art, L’Officiel Art,, and

selection committee

Sofia Hernandez Chong Cuy (director Witte de With), Jussi Koitela (CP alumnus 2015–2016), Clare Butcher (CP alumnus 2008–2009) and, Jo-Lene Ong (CP Alumnus 2017–2018 and CP Fellow 2018–2019) Rachael Rakes (de Appel Head Curator and Head of Curatorial Programme), Liza Nijhuis (coordinator curatorial programme) and Monika Szewczyk (director de Appel)

indicated roles at the time of the selection process


Nikolay Alutin

(Russia, 1986) is an independent curator and researcher based in Moscow. He holds an MA in Art History from the Russian State University for the Humanities. His practice is concerned with curatorial strategies of decentralization of contemporary art. He has curated multiple exhibitions in independent galleries and artist-run spaces in Russia and abroad. The last project he has been involved in, Survival Kit, dealt with the concept of “subtle art” as a means of delivering socio-political messages in conditions of state censorship and was included in parallel programs of the 15thIstanbul Biennial of Contemporary Art and the 4th Ural Industrial Biennial. 

Bruno Alves de Almeida

(1987, Brazil/ Portugal) is the Curator & Resident Liaison of the Van Eyck Academie- Multiform Institute for Fine Art, Design and Reflection, Maastricht, the Netherlands (2020-). He is the founder and curator of the projects and commissioning platforms ‘SITU’ (2015-2018) and ‘1:1’ (2018-ongoing), in São Paulo, Brazil. Has developed a variety of projects with institutions such as: Harvard Graduate School of Design, Cambridge; Storefront for Art and Architecture, New York; São Paulo Architecture Biennial; Pivô Art and Research, São Paulo; De Appel and Stedelijk Museum, Amsterdam, among others. Participated in residencies such as: TATE Intensive, TATE Modern, London; IdeasCity Arles, New Museum with LUMA Foundation, Arles; Curatorial Intensive Accra, ICI, Accra, among others. And received grants from the Hyundai TATE Research Centre: Transnational, London, the Calouste Gulbenkian Foundation, Lisbon, and others. Bruno is an alumnus of De Appel’s Curatorial Programme, Amsterdam (2018/19). Holds a Master’s degree from the Mendrisio Academy of Architecture, Switzerland (2013), and a Bachelor from the Faculty of Architecture of the University of Oporto, Portugal (2009).

Sofía Dourron

(Argentina, 1984) is an art historian and curator based in Buenos Aires. She holds a BA in Art History and Management, and an MA in Latin American Art History. From 2015 to 2018 she was a curator at the Museum of Modern Art of Buenos Aires, where she curated exhibitions such as: Elba Bairon. Untitled(2017), Sergio Avello. Young multi-talented professional (2017),Edgardo Antonio Vigo. Permanent Factory of Creative Chaos: 1954-1997 (2016), and Do it yourself. A Project by Lino Divas(2016). She also edited Vigo’s exhibition catalogue, the first comprehensive publication of his work, and collaborated on the book LaMenesunda by Marta Minujin(2015), which features two essays on the historical relevance of the original work and its reconstruction. Since 2011 she is a member of La Ene, Nuevo Museo Energía de Arte Contemporáneo, an independent art space founded in 2010 in Buenos Aires, which she directed from 2015 until 2018. At La Ene, she curated several exhibitions that include: Glusberg(2017); A war of all against all (2016), by Joaquín Segura; What the wind left behind. Publications by Fernanda Laguna (2015), and Ghost Museum. MAMBA 1956-1960(2013). She has also co-curated several exhibitions of La Ene’s collection in: Seoul (2017), Ciudad de México (2016), Lima (2015), Buenos Aires (2014) and Santa Fe (2014). In 2015 she founded, together with artist Gala Berger, Paraguay Independent Printed Art Fair.

Alisa Blakeney

(UK, 1986) is a curator from regional Western Australia. She co-directed the Perth artist-run space Paper Mountain (2013-2015), worked as a curator at Bunbury Regional Art Gallery (2014-2018) and was a co-founder of Compiler: a London-based platform for the production and presentation of new media art and dialogue (2017). Her independent curatorial projects include Noise Museum (2017) and Ratio Club (2017-18). She holds a BA in Fine Art from the University of Western Australia and an MA in Digital Culture from Goldsmiths, University of London.

Aude Christel Mgba

(1991) is an independent curator based between Cameroon and the Netherlands. She was a participant of de Appel’s 2018/19 Curatorial Programme. In 2017, Mgba worked as an assistant curator next to Cécile Bourne-Farrell for the SUD2017, an international triennial of art in the public space, organised by doual'art, a centre for contemporary art, for the city of Douala. She is a member of the Madrassa Collective.

Dita Birkenšteina

(1988, Latvia) is an art producer working in favour of new commissions’ projects at Kim? Contemporary Art Centre in Riga, Latvia (2015-2018). In 2013 she graduated in Art History at Art Academy of Latvia, and her exhibition reviews and other writing has been published in art and culture magazines in the Baltics. Most recently, she has been interested in the topics of mental activity and wellbeing investigated across various disciplines, and comfort of mind in the modern civilisation. Her recent projects include the 13th Baltic Triennial: “Give Up The Ghost” curated by Vincent Honore, Merike Estna’s solo show “Disposable Gloves Guide”, Dafna Maimon’s exhibition and performance “Family Business: Power Failure”, Kevin Beasley’s solo show “Rubbings”, Robertas Narkus & Autarkia cabaret “The Guest”, and Ieva Epnere’s “Sea of Living Memories” among others.

selection committee

Niels Van Tomme (director de Appel), Guus van Engelshoven (curator public programme & research de Appel), Falke Pisano (artist), Natasha Ginwala (CP alumnus 2010-2011), Rachael Rakes (head curator de Appel)

indicated roles at the time of the selection process.

Final outcome: Landscape with Bear


Sun A Moon

(Korea, 1985) is an independent curator, researcher, and writer. Recently, she is curating Zeitgeist series, excavating how the generalization of media changes the social structure and relationships and makes shifts in visual arts based on the generation theory and media theory. The first show Zeitgeist: non-Psychedelic; Blue opened in Amado Art Space, Seoul (2016). She has a bachelor’s degree in philosophy from Chungang University and has studied Art Theory in Korea National University of Arts for a master’s degree. She started her career as an independent curator and co-curated Move and Meet (2012). She worked as an editor and journalist for the Public Art magazine (2013-2015). After making 25 issues, she joined as an assistant curator in Plastic Myths, the inaugural exhibition at Asia Culture Center in Gwangju (2015-2016). She participated in ARKO Creative Academy, the fellowship program organized by Arts Council Korea (2016-2017) and TATE Intensive Program in London (2017). She received the Amado Exhibition Award (2016) and the Critic Festival Award (2016). She writes regularly for contemporary art magazines including Public Art.

Luay Al Derazi

(Bahrain, 1991) is a curator based in the Gulf. He was the programming coordinator at Alserkal Avenue (2015-2017), an arts organization in Dubai, which was established to support the region’s contemporary art scene. Since 2015, he has developed and executed annual community programmes, alongside a series of public art commissions for Alserkal Avenue. In this role, he spearheaded new initiatives which included; a series of web-based artist commissions for Folio, an online platform for the growing cultural scene in the Gulf; and 101Talks, a series of public conversations with members of the UAE creative community. Previously, Luay worked at Al Riwaq Art Space in Bahrain, working on the art production of Alwan 338, an annual public arts festival. Luay holds a BSc in Business Management from the University of East Anglia in the UK, and completed the Goldsmiths Curatorial Summer School course at the British School at Rome.

Jagna Lewandowska

(Poland, 1986) is a curator, art and film journalist and cultural projects coordinator. She is a member of the New Roman gallery collective and was coordinator of the ShowOFF section of Photomonth in Krakow (2011-2013). From 2013 to 2016 she was associated with Arton Foundation – non-profit organization dedicated to the Polish art archives from the 1970’s, for which she curated the “Arton Review” film program and exhibitions. She was recipient of the Polish Ministry of Culture and National Heritage Scholarship (2014). She has contributed to ‘KINO Magazine’ and has been working as exhibition coordinator at Royal Łazienki Museum in Warsaw. Lewandowska has worked on multiple art projects and exhibitions involving interdisciplinary research. She is particularly interested in phenomena in the process of media translation, the modern resonance of conceptual traditions and artists’ collaborations. She graduated in Cultural Studies (Film and Media Studies specialisation) at Jagiellonian University, Kraków and studied History of Art at the University of Warsaw where she currently is a PhD student at the Faculty of “Artes Liberales”.

Jo-Lene Ong

(Malaysia, 1981) is a curator based between Amsterdam and Kuala Lumpur. She got her start in the field through the intersection between activism and the arts. Jo-Lene is the De Appel Curatorial Research Fellow 2018/19, working towards a publication and symposium on the future of curating. Her research interests include the spectres of Batavia in the Stedelijk Museum Amsterdam and the intersections of performative practices, embodiment, and pedagogy. Recent exhibitions include Brace for Impact at De Appel, SUNSHOWER: Contemporary Art from Southeast Asia from 1980s – Now at Mori Art Museum and National Art Centre, Tokyo, and M_KNG SP_C_: We Are Where We Aren’t in Kuala Lumpur.

Miriam Wistreich

(Denmark, 1985) is a Copenhagen based curator, writer and researcher. She holds a BA in Art History from the University of Copenhagen and an MA in Interactive Media: Critical Theory and Practice from Goldsmiths, University of London. Her interests revolve around bodies, both human and non-human, and feminist thinking. She has curated exhibitions in several artist-run spaces in Copenhagen and is co-founder of the nomadic study group ‘Entering Into Relation with an Object.’ As part of the Laboratory for Aesthetics and Ecology, a curatorial platform for planetary becoming, she co-translated and published Donna Haraway’s ‘Playing String Figures with Companion Species: Staying with the Trouble’ into Danish. A rather hopeless romantic, her previous research has engaged with Victorian prostitution in London and with desire. She is currently working with the Centre for Precarious Lives researching modes of precarity in late capitalism in the hope that things might get better.

Arkadiusz Półtorak

(Poland, 1992) is a curator and writer based in Kraków and a PhD candidate at the Department of Literary Anthropology and Cultural Studies at the Jagiellonian University. He is recipient of an individual grant for arts and media theory research, funded by the Ministry of Science and Higher Education in Poland (Diamentowy Grant, 2015-18). As a freelance curator he has collaborated with artists such as Jasmina Metwaly and Philip Rizk, Norman Leto, Mateusz Kula and Agata Biskup. He is co-founder of the Kraków-based art space Asnyka 7 and co-curator of the long-term interdisciplinary project Elementarz dla mieszkańców miast (The Handbook for City Dwellers) with Leona Jacewska. He writes regularly on subjects related to contemporary arts for Magazyn SZUM and has contributed to a few art-related monographs including Kinship in Solitude – Perspectives on Notions of Solidarity, eds. Anna Jehle and Paul Buckermann, Hamburg (adocs) 2017.

selection committee

Julika Rudelius (artist), Cosmin Costinas (writer and curator), Basak Senova (curator, writer and designer), Niels Van Tomme (director de Appel), Saskia van der Kroef (coordinator de Appel curatorial progamme)

indicated roles at the time of the selection process.

Final outcome: Brace for Impact


Mira Asriningtyas

(Indonesia, 1986) works as a curator and writer in Yogyakarta. In 2011 she founded Lir Space, where she is the in-house curator. Lir Space is an independent institute that aims to build a supportive and positive environment for young artists. In 2013, Asriningtyas was chosen as one of the curators for the Young Curator Forum of Cemeti Art House in Yogyakarta. In the same year, she did a residency and research program at 98B COLLABoratory, Manila. She was also selected to be part of the Young Curators Workshop by the Japan Foundation and the 4A Curators’ Intensive 2014 in 4A Centre for Contemporary Asian Art in Sydney. Asriningtyas is especially interested in conceptually-driven projects, presenting the process of making art, combining different academics backgrounds and disciplines, playing with the tension between what is private and public, reusing abandoned places and public space as project site, and artworks that emphasize spatial practice. She regularly publishes in magazines and catalogues.

Lucrezia Calabrò Visconti

(Italy, 1990) is an independent curator based in Turin, where she co-founded the research-driven non-profit space CLOG Projects. Visconti currently works as artistic advisor for Artissima (Internazionale d’Arte Contemporanea) and recently worked as assistant curator for Tutttovero by Francesco Bonami and Shit and Die by Maurizio Cattelan, Myriam Ben Salah and Marta Papini. Visconti graduated in Visual Arts at IUAV University, Venice, attended the curatorial programme CAMPO12 at Fondazione Sandretto Re Rebaudengo in Turin, and pursued a curatorial internship at Artists Space, New York. She previously worked for TOILETPAPER Magazine and Le Dictateur, Milan. Visconti studies Philosophy, writes occasionally for art journals and founded the online projects “Curatorshit”, “shitndie” and “Ketchup Drool”. Her latest exhibition is Dear Betty: Run Fast, Bite Hard! at GAMeC, Bergamo, winning project of Premio Bonaldi 2015-16.

Shona Mei Findlay

(Singapore, 1989) is Curatorial Assistant Residencies of the NTU Centre for Contemporary Art Singapore (NTU CCA Singapore), a contemporary art research centre of Nanyang Technological University (NTU). Since its inauguration in January 2014, the Residencies Programme has brought together artists, curators and writers in a research driven residency with particular emphasis on artists from Singapore and Southeast Asia alongside artists from the rest of the world. She was project assistant for No Country: Contemporary Art for South and Southeast Asia, UBS Guggenheim Global Art Initiative’s MAP exhibition (2014) and co-curated the Artist Resource Platform: Bring it to Life (2015), both at NTU CCA Singapore. Findlay was a participant in the inaugural Workshop for Emerging Professionals of Para Site in Hong Kong (2015) and received her BA in Fine Art and History of Art from Goldsmiths College, London (2007).

Mateo Chacon-Pino

(Switzerland/Colombia, 1991) is an independent curator based in Zurich. He graduated in Art History, Theory and History of Photography, and Modern German Literature at the University of Zurich. Chacon-Pino has contributed texts to various publications, and assisted the artist Teresa Margolles on her project for Manifesta 11 in Zurich. Since 2013 he has curated various shows and projects in informal spaces as well as at the Peter Kilchmann Gallery in Zurich. In 2013 he co-founded and ran the art space Arbenz in Zurich.

Kati Ilves

(Estonia, 1984) works as a curator in the Kumu Art Museum, Tallinn, which is the largest of the five branches of the Art Museum of Estonia. In Kumu, Ilves is in charge of the contemporary art gallery, where she focuses on curating the current tendencies in Estonian and international art, as well as introducing the classics of modern and contemporary art to the public. Ilves is the initiator of the Kumu Art Film Festival KuFF, which highlights works by visual artists, focusing on the relationship between film and art. Since 2010, she has been a lecturer in the Department of Photography at the Estonian Academy of Arts. Ilves graduated from the Department of Art History at the Estonian Academy of Arts, and studied literature and film in Paris 8 University.

Fadwa Naamna

(Palestine, 1985) is a curator and artist based in Haifa, and has been engaged in the seaming lines between the contemporary Palestinian and Israeli art scenes. She has finished her studies in Arts and Geography at Haifa University. Her journey started as an artist with varied engagements on a scale of visual to community art. Naamna has ​been active in the last couple of ​years as an assistant curator at Beit Hagefen gallery in Haifa, where she took part in curating and producing several projects and exhibitions in galleries and in the public space such as the Annual Holiday of Holidays at Haifa (2014-15), The Annual Haifa Story Festival exhibition (2014) and Arab Cultural-Days annual Festival (2014-15). She has been engaged in coordinating other artistic initiatives such as Ha-Horva Artists’ Studios project (Downtown – Haifa), and Museum without Walls (Haifa), which is a platform of sociopolitical art in the public space of “Wadi-Nisnas” in Haifa. Naamna has also been engaged in assisting artists and accompanying their artistic processes end-to-end.

selection committee

Marc-Olivier Wahler (curator), Saskia van der Kroef (coordinator de Appel curatorial programme), Guus van Engelshoven (curator public programme and research de Appel), Mark Alizart (philosopher and writer), Julien Fronsacq (curator MAMCO), Berend Strik (artist)

indicated roles at the time of the selection process.


Laura Amann

(1986, Austria) is an architect and curator, who graduated from the Academy of Fine Arts Vienna, the Technical University Vienna and the École Supérieure d’Architecture Paris Malaquais. She is co-founder of pøl – office for architecture and research and currently also working for juri troy architects. Her freelance work includes collaborations with the galleries Emanuel Layr (Vienna) and Christian Andersen (Copenhagen), as well as artists like Nick Oberthaler, Benjamin Hirte, Lily Reynaud Dewar and Plamen Dejanoff. Previously she has worked for Élias Guenoun in France and Carlos Martinez in Switzerland. For the Academy of Fine Arts she was part of the curatorial team for the exhibition ‘BIG!BAD?MODERN’ and she co-curated the werkschau ‘STUDIOLI’.

Kateryna Filyuk

(1986, Ukraine) is a curator and art critic. She holds an MA in Philosophy from Odessa I.I. Mechnikov National University. She has worked for the First Kyiv International Biennale of Contemporary Art ARSENALE 2012 as managing editor of the catalogue and coordinator of the discussion platform. In 2012, she took part in the 4th Gwangju Biennale International Curator Course, followed by the MMCA International Research Fellowship at the National Museum of Modern and Contemporary Art of Korea with a final essay on Korean New Media Art, in 2014. Filyuk has been involved in the organization of exhibitions in various galleries and institutions and contributed to a number of Ukrainian magazines and online platforms such as Art Ukraine. Currently she is director of Dymchuk Gallery (Kyiv).

Jussi Koitela

(1981, Finland) is a curator/visual artist who has been based in Helsinki, Finland. As a curator, he is currently focused on artists’ reactions to economic discourses and realities trough his curatorial project ‘Skills of Economy’. Recent selected curatorial work include ‘To Use As a Capital’ at One Night Only Gallery / Kunstnernes Hus (Oslo), ‘Skills of Economy – Post Models: Ore.e Refineries’ exhibition at SIC Space (Helsinki), ‘Floating Ghost’ project at Manifesta 10 On Board (Helsinki/St. Petersburg) and ‘What is Monumental Today?’, a seminar at Smolny Institute, St. Petersburg. Koitela has studied at Tampere University of Applied Sciences (BA Fine Art) and the Finnish Academy of Fine Art (MA Praxis).

Renée Mboya

(1986, Kenya) is a curator, writer and filmmaker from Nairobi. Since 2012 she has been on a personal journey in research, writing and installation, working with visual artists, photographers and filmmakers from around the African continent to explore varied constructions of identity for a new generation. Her work is concerned in particular with the ways in which physical space carries memory and can be used to reconstruct historical narratives. She has curated exhibitions for Gallery Watatu, the Kuona Trust Art Centre as well as various pop-up spaces across Africa. Her own visual work has been show at the Medina Gallery in Bamako and the Prince Claus Gallery in Amsterdam. Her writing has been published in Art Life Magazine, East African Standard Newspaper, Kwani, Loved & Found, the Sun Times and various other media.

Asep Topan

(1989, Indonesia) is an independent curator and art lecturer based in Jakarta. His projects are mainly focusing on curating contemporary art related to alternative spaces and social-activism. Since 2011, he has been involved as a writer and editor with several projects in ruangrupa, an artist initiative from Jakarta. In the same year, he had joined with his alma mater, Jakarta Institute of Arts, as a lecturer, and debuted his initial curatorial project ‘Print: Process’, an exhibition in RURU Gallery (Jakarta). He was also employed by Ade Darmawan to co-curate ARTE International Arts Festival (Jakarta). In 2014, Asep Topan participated in the Next Generation Curators of Southeast Asia program, initiated by The Japan Foundation (Jakarta and Japan), and published the book ‘Sketsa dan Sebuah Kesalahan’ (Sketches and a Mistake), which contain his essays on the Indonesian art scene, including history and exhibition reviews, and published by FSR IKJ Press.

Alessandra Troncone

(1984, Italy) is an art critic and curator. She is currently a Researcher at the Research Department of the Madre Museum in Naples. She earned a Ph.D. in History of Contemporary Art at the Sapienza University in Rome in 2012, researching the history of Italian exhibitions in the 1960s and the 1970s. Between 2008 and 2012 she worked as an assistant curator at the museum MLAC in Rome, where she curated the exhibition ‘Czech Point’ (2011). She also worked as an assistant curator on several projects, including ‘VIVA Performance Lab’ in Cosenza, ‘Fair Play. Art, Sport and Video’ at the MAXXI in Rome and ‘Codice Italia’, the Italian Pavilion at the 56th Venice Biennale. Since 2006, she has actively collaborated with specialized magazines, such as Flash Art and Luxflux. In 2014, she authored the book ‘La smaterializzazione dell’arte in Italia 1967-1973’ (The Dematerialization of Art in Italy 1967-1973), published by Postmedia Books.

selection committee

Annie Fletcher (director IMMA), Thomas Boutoux (curator and publisher), Luis Silva (CP alumnus 2009–2010), Willem de Rooij (artist), Saskia van der Kroef (coordinator de Appel curatorial programme), Lorenzo Benedetti (director de Appel)

indicated roles at time of the selection process


Barbara Cueto

(1986, Spain) is a Spanish curator and writer. She holds a BA in Journalism from Complutense University in Madrid and a MA in Arts & Heritage from Maastricht University. She lives in Berlin since 2010, working in several off-spaces like Grimmuseum and Autocenter, and developing parallel projects. In the Netherlands, she participated in the Young Talents Program of The Ridder in Maastricht and co-founded the curatorial collective Autonomous Department. She was guest curator at the Euregio Open House in Mönchengladbach, where she curated the Transnational Series. Currently, she is curator of Vesselroom Project in Berlin, a space for exploration of new media, investigation of theoretical discourses and observation of current trends.

Bas Hendrikx

(1986, the Netherlands) is a curator based in Amsterdam. He has been working for Hotel Maria Kapel, an artist residency and project space in Hoorn, the Netherlands. Initially as guest curator of the exhibition Eyes On The Prize, which led to a permanent position in the curatorial team, and, since 2013, co-directorship. As associate curator at P/////AKT, platform for contemporary art in Amsterdam, he took part in organizing series of exhibitions by emerging artists, the most recent one being Perpetual Precedents. He furthermore has been guest-viewer for the selection committee of the 2014 Impakt Panorama Festival, contributed various texts to online magazine Mister Motley and recently published an essay for Annegien van Doorn´s exhibition Domestic Science at Foam in Amsterdam.

Chiara Ianeselli

(1989, Italy) is an independent curator based in Trento, Italy. Ianeselli graduated in Cultural Heritage at Trento University with a research thesis on Roberto Crippa. Her recent activities, in the role of curatorial assistant, has been to work with Marcos Lutyens and Raimundas Malašauskas for the Hypnotic Show at dOCUMENTA (13), where she also assisted Tue Greenfort for the Worldly House as well as other pavilions. In the 2012 edition of Artissima in Turin, she held the position of assistant to Francesca Bertolotti, the fair’s head of curatorial projects. Ianeselli has been involved in the organization of exhibitions in various galleries and institutions, associations and platforms including Vessel. She also worked as assistant-curator for the Lithuanian-Cypriot Pavilion at the 55th Venice Biennale and curated Lutyens’s first solo show in Italy.

Inga Lāce

(1986, Latvia) is a curator from Riga, Latvia. She has worked at the Latvian Centre for Contemporary Art (2012-2014) where her recent projects included working as project director for the exhibition Re:visited (2014), as well as co-organizing the contemporary art festival Survival Kit 5 and its symposium Slow Revolution. Art in the Institutional and Territorial Peripheries (2013). She has co-curated an exhibition and research project (Revisiting Footnotes, 2013-2014) and ran a collaboration project with Alexandrian Contemporary Dance Centre (Centre Rézodanse – Egypte, 2012-2013). She was also co-curator of the exhibition (Re)construction of Friendship (2014), located in the former KGB house in Riga. In 2011 Lace worked as curatorial assistant at the art space Mains d’œuvres in Paris, France.

Lian Ladia

(1979, Philippines) is a curator and writer based in Southeast Asia. In 2011, she co-founded the artistic platform Planting Rice in Manila with curator Sidd Perez. Aside from curatorial projects featuring emerging artists and repotentialised spaces (whether online, in print or actual public spaces), the initiative has aimed to foster the cross-pollination among artistic communities. The online platform Planting Rice offers a resource of writings about current discussions and collaborations developing beyond available publications or mainstream spaces in Manila. In addition to making the work available for international audiences, Planting Rice is also aimed to nurture the local growth which is a strong thrust in Lian Ladia’s curatorial practice.

Rani Lavie

(1978, Israel) is a curator and researcher based in Tel Aviv. He studied History (BA) and Philosophy (MA) at Tel Aviv University and screen-based art at Bezalel Academy of Art. Since 2010, he is part of the leading team in HANUT31, an independent interdisciplinary art space in Tel Aviv, where he has curated numerous exhibitions in the large vitrines, and was director of the dance program. Currently he is taking part in the residency program at Artport, Tel Aviv.

selection committee

Lorenzo Benedetti (director de Appel), Barbara Visser (artist), Christina Li (CP alumnus 2008–2009), Francis Mckee (writer and curator), Hou Hanru (curator), Mai Abu ElDahab (CP alumnus 2003–2004), Ann Demeester (directpr Frans Hals Museum), Saskia van der Kroef (coordinator de Appel curatorial programme)


Renata Cervetto

(1985, Argentina) has an Art History degree from the Universidad de Buenos Aires and is currently researching Latin American Biennales. In 2010, she enriched her studies in Contemporary Art at the Université Paris. She has worked in the Education Departments of Museo Sívori, Colección Amalia Lacroze de Fortabat and Fundación Proa. In 2011, she worked in the Curatorial Department of the Museo de Arte Moderno de Buenos Aires. The following year, she produced and curated the exhibition Ventanas, which took place at the public hospital Dr. Alberto Eurnekian, Buenos Aires. In May 2012, she curated the exhibition Geométricos Hoy. Caminos en Expansion at Museo de Arte Contemporáneo de Buenos Aires.

Kris Dittel

(1983, Slovakia) is an independent curator based in the Netherlands. She holds an MSc in Economics and Social Sciences from Masaryk University, Czech Republic, and an MA in Arts and Heritage from Maastricht University, the Netherlands. As Assistant Curator at the Bonnefantenmuseum Maastricht, she took part in the organisation of the exhibitions Martin Visser: collector, designer, free spirit and BACA Masterclass. As Associate Curator she realised the exhibition Nachtfahrt at Bonnefanten Roermond and part of BACA Projects in collaboration with the Jan van Eyck Academie. Since 2009, she is a Board Member and Curator of the self-organised art initiative B32 in Maastricht. In 2013, Dittel took part in the curatorial residency programme at Schloss Ringenberg, Germany.

Lara Khaldi

(1982, Palestina) is a writer and curator based in Palestina. She is currently pursuing her MA degree at the European Graduate School in Media and Communications. Khaldi received her BA in Archaeology and Art History with a minor in English Literature. In 2012, she co-curated Gestures in Time (Jerusalem show 6 and Riwaq Biennial 5). Khaldi also co-curated the 5th Jerusalem Show, On/Off Language, with Al Ma’mal Contemporary Art Foundation. She held the position of Assistant Director for programmes at the Sharjah Art Foundation, UAE from 2009 – 2011. Khaldi co-edited Provisions I&II (Sharjah Biennial 10 catalogues) and curated film and video programmes in 2009 and 2011 as part of the Arab Shorts initiative by Goethe, Caïro. Khaldi worked as Assistant Director at Al Riwaq Art Gallery in Bahrain in 2007 and Assistant Curator for the exhibition Never Part, Bozar, Brussels, 2007. She is currently working as the Director of Khalil Sakakini Cultural Center.

Emma Panza

(1985, Italy) is a curator and researcher with a BA in Cultural Heritage and an MA in Contemporary Art History. Since 2008, she has been developing Temporary Black Space, an independent project space in Bergamo, Italy. Panza is currently researching the boundaries of art and curatorial practice considering the sense of utility towards specific contexts of everyday life. In 2012 and 2013, she was a Research Assistant at Casco – Office for Art, Design and Theory and participated in ICW of Vessel in Bari. In addition, she regularly writes for Artribune and

Aneta Rostkowska

(1979, Poland) is a curator, art critic and blogger. She studied at the universities of Poznań, Kraków, Heidelberg and Frankfurt am Main, obtaining a BA in Economics and an MA in Philosophy. In her curatorial practice she focuses on art conceived as a source of knowledge and a tool for political and social change. She is a co-founder of initiatives dedicated to the current socio-economic situation and the city of Kraków – i.e. After Capitalism, Salt and Urban Project. She currently works at the Gallery of Contemporary Art Bunkier Sztuki in Kraków. Rostkowska teaches at the Academy of Fine Arts and at the Jagiellonian University, both in Kraków.

Kate Strain

(1983, Ireland) is an independent curator. She holds an MA in Visual Arts Practice from IADT Dun Laoghaire, and a BA in History, and the History of Art and Architecture from Trinity College Dublin. Strain makes up one half of the paired curatorial practice RGKSKSRG, alongside Rachael Gilbourne, and has worked in a curatorial capacity at Project Arts Centre, Dublin, and Butler Gallery, Kilkenny. Recent projects include a research residency at The Centre for Dying On Stage, Grazer Kunstverein, Austria, and the on-going development of On Curating Histories – a generative lecture series set to unfold in 2014. Strain serves on the board of directors for Commonage, a research, design and curatorial organisation based in Callan, Co Kilkenny; and is a member of The Good Hatchery, an artist-led initiative located in the boglands of Co Offaly.


Karima Boudou

(1987, France/ Morocco) is a curator and art historian based in Rabat, Morocco. She studied art history in Montpellier and Rennes, and philosophy in Nanterre. Boudou worked as a curatorial assistant at Palais de Tokyo (Paris) and L’appartement 22. In 2011, she co-founded an independent collective of curators, DIS/PARERE, which organized exhibitions in France and Venice with young French emerging artists. She recently co-curated a project at Frac Bretagne (Rennes, 2012) with artist Judith Deschamps. Other recent curatorial projects include ‘Ce lieu n’est pas la maison de Descartes’ (June 2013, French Institute of Amsterdam), ‘Le Signe Route’ (September 2013, L’Appartement 22, Rabat). Currently she is preparing a solo exhibition of Donelle Woolford as aprt of Marrakech Biennale (2014), a book to be published by FRAC Bretagne in collaboration with Judith Deschamps and a research project about the distribution of labour from the perspective of arts and crafts in line with mercantile linkages derived from Moroccan history.

Kari Cwynar

(1985, Canada) is a curator and writer from Ottawa, Canada. She holds an MA from Carleton University, Ottawa and a BA from Queen’s University, Kingston, both in Art History. Until recently she was the Curatorial Research Work Study with Kitty Scott at The Banff Centre, Banff, Canada. She recently worked with Scott on the exhibition À Ciel Ouvert at the Musée nationale des beaux-arts du Québec, Québec City (2012); in the summer of 2012 she assisted with The Retreat, a section of dOCUMENTA(13) taking place in Banff in August 2012. Previously Cwynar held positions at the National Gallery of Canada and the Ottawa Art Gallery. Recent exhibitions curated by Cwynar include Lynne Cohen Photographs from 1973 to 1978, The Banff Centre, Banff (2012); The Work Locates Itself, Columbia University, New York (2012); and The Collector’s Circle, The Banff Park Museum National Historic Site, Banff, (2012). She is currently preparing a mobile gallery in a truck for Open Engagement, Portland (2012), and has been invited to curate The Last Laugh at apexart, New York (2013). Cwynar has written about contemporary art for C Magazine, Canadian Art, and Color Magazine, among other publications, and was the winner of the 2011 C Magazine New Critics Competition. In November 2011, she was a participant in Independent Curators International’s Curatorial Intensive.

Miriam Wistreich

(Denmark, 1985) is a Copenhagen based curator, writer and researcher. She holds a BA in Art History from the University of Copenhagen and an MA in Interactive Media: Critical Theory and Practice from Goldsmiths, University of London. Her interests revolve around bodies, both human and non-human, and feminist thinking. She has curated exhibitions in several artist-run spaces in Copenhagen and is co-founder of the nomadic study group ‘Entering Into Relation with an Object.’ As part of the Laboratory for Aesthetics and Ecology, a curatorial platform for planetary becoming, she co-translated and published Donna Haraway’s ‘Playing String Figures with Companion Species: Staying with the Trouble’ into Danish. A rather hopeless romantic, her previous research has engaged with Victorian prostitution in London and with desire. She is currently working with the Centre for Precarious Lives researching modes of precarity in late capitalism in the hope that things might get better.

Angela Jerardi

(1979, United States) is an independent curator and artist from Philadelphia. Her curatorial practice focuses on emerging contemporary art, particularly collaborative, interdisciplinary, and socially engaged work. From 2008 to 2011 she held the position of director and co-collaborator of FLUXspace, a non-profit alternative art space and collective project. Angela studied Cultural Anthropology and Art History at Earlham College. Prior to joining FLUXspace, she worked with arts organizations and institutions including the Freer and Sackler Galleries, Smithsonian Institution, Washington, DC, Maryland Art Place, Baltimore, MD, and Transformer, Washington, DC. Recent projects with FLUXspace include Mia Feuer: Displacement (2009), No Soul for Sale at the X Initiative, NYC (2010), and at the TATE Modern, London, UK (2011), Kat Culchur (2011), and a collectively produced chapbook, re: Where Art Belongs. An exhibition of her work, Set Theory, recently opened at ACRE Projects in Chicago, IL.

Srajana Kaikini

(1986, India). Writer. Artist. Architect. Holds a Masters in Arts and Aesthetics from Jawaharlal Nehru University, New Delhi with a graduate degree in architecture. Writes on art and cinema and is involved in new media art practice as part of an urban arts collective in Bangalore with focus on the arts in urban spaces and artistic expressions through image-text metaphors. Her thesis (2009) engaged with the rejuvenation and re-scripting of the Kalaghoda Art District, Mumbai as a reinforced cultural node in the existing fabric of the city. Her latest co-curatorial venture with the Raqs Media Collective, titled ‘Adventures of a Narcoleptic Flaneur’ was exhibited in the School of Arts and Aesthetics, JNU, Delhi in winter 2011. Srajana curated Familiar Strangers, part of the India Foundation for the Arts and KCFS curatorial workshop project 2012, in Mumbai. Srajana writes prose, poetry, travelogues and reflections, some of which trickle their way into her blog. She is also a classical Odissi dancer by passion.

Florencia Portocarrero

(1981, Peru) is an independent curator, professor and a psychoanalytic-oriented therapist. She obtained her BA at the Pontifical Catholic University of Perú, where she also received her MA in Psychoanalytical Theory. She works both as an university teacher and as a psychotherapist. In 2008 she was assistant curator in “(E) star” gallery. Since then she has written for several exhibition catalogues in Perú and abroad. In 2010, based on the research of her master’s thesis, she curated the exhibition “The State of Fictions” at the Spanish Cultural Center in Lima. In 2012 she co-curated “Historical Animals” in the school of Art and design “Corriente Alterna” and “Black Days” in “Revolver” gallery. She has recently worked on her project “The Tyranny of Intimacy”, opening August 2012, at the Spanish Cultural Center in Lima.

Alexandra Stock

(1982, United States) is a Swiss/American curator and visual artist based in Egypt.

Final outcome: Bourgeois Leftovers


Antonia Alampi

(b. 1983, Italy) is an art historian, curator and writer born in southern Italy and currently based in Cairo, where she is curator at Beirut, and art history lecturer at Azza Fahmy Design Studio. She holds a BA and MA degree in art history and contemporary art from La Sapienza University in Rome. She co-founded and co-directed the art initiative Opera Rebis, and has worked for various institutions including Manifesta7 and Galleria Civica di Arte Contemporanea di Trento. Her writings have appeared in various journals, magazines and art(ist) publications, such as Art-Agenda, Frieze, Flash Art International, Artribune, Arte e Critica and Afrikaada. Recent curatorial projects include Writing with the other hand is imagining, Beirut (Cairo, 2013); You Only Fall Twice, CCA Derry-Londonderry (2013); The Real Thing?, Palais de Tokyo, part of Nouvelles Vagues (Paris, 2013); Posse Comitatus, Fondation D’Entreprise Ricard (Paris, 2013); Specters of…, 98weeks (Beirut, 2013).

Katia Krupennikova

(b. 1982, Russia) lives and works between Warsaw, Amsterdam and Moscow. She holds an MA degree in History of Art from the Moscow State University for Humanities. Katia currently collaborates with Center of Contemporary art Ujazdowski Castle in Warsaw as an Assistant Curator, where she also contributes to the programme of the Video Room, bringing works by such artists as Javier Tellez or Keren Cytter to Poland. Katia collaborates with Moscow Design Museum as an invited curatorial adviser. Her recent independent curatorial projects Playing Nature within the Special Programme of the 5th Moscow Biennale of Contemporary art (CCA Sokol, Moscow, 2013) and NO LAND’S MEN (De Punt, Amsterdam, 2013) are held within the official year of Dutch-Russian cultural collaboration. Earlier she has participated twice in the Moscow Biennale of Young Art Que Vive (2008-2010) with curatorial projects and co-curated a non-profit project that used a marine container as an art space, supporting young artists in Russia (2008-2010). Katia collaborates with various cultural resources internationally including (RUS), Metropolis M (NL).

Qinyi Lim

(b. 1981, Singapore) is a writer and Curator of Para Site, Hong Kong. She served in various curatorial roles at the Singapore Art Museum and National University of Singapore (NUS) Museum. Lim graduated with honours in Art History from University of Queensland, Australia and has a MA in Southeast Asian Studies from the National University of Singapore. Past curatorial projects that she have been involved in include Telah Terbit: Out Now (Singapore Art Museum, 2006), Bound for Glory: Wong Hoy Cheong (2008), Curating Lab: 100 objects (Remixed, 2009), Why Stay If You Can Go? (Stedelijk Museum & de Appel arts centre, 2011) Three Artists Walk Into A Bar… (de Appel arts centre, 2012), Do Androids Dream of Electric Sheep? The Paradox of Choice in a Time of Anxiety (Para Site, 2012) and Present Future (Artissima 20, 2013).

Sanne Oorthuizen

(b. 1984, the Netherlands) studied Art History at Rijksuniversiteit Groningen and holds a MA degree in Museum Curating from Free University Amsterdam. During a five-month research period in Indonesia for her thesis ‘The Phoenix of Linear Time. Indonesian Contemporary Art and the Question of History’, she was guest curator of the group exhibition ‘The Mental Archive’ at Cemeti Art House in Yogyakarta. She worked as a curatorial trainee at the Centraal Museum Utrecht and Stedelijk Museum Bureau Amsterdam, where she worked on exhibitions, workshops and discursive programmes. Recently, Sanne has been working as a curatorial member of Electric Palm Tree, a long-term project/platform/community, currently powered by Casco – Office for Art, Design and Theory in Utrecht that deals with the politics of culture and issues of co-existence in the current global society. Her current research focuses on contemporary artistic practices that analyse the construction and representations of history, thereby intersecting discourses on postcolonialism, transnationalism and globalization as well as notions on the archival, memory and the perception of time. In her practice she aims to break free from prevailing paradigms by means of transnational and collective exchange. Sanne has been a contributing writer and editor to a number of catalogues and magazines.

Alec Steadman

(b. 1983, England) is a curator and artist based in London where he completed his BA in Fine Art at Middlesex University. He held the position of Associate Curator for Zoo Art Enterprises from 2010 – 2011, at the same time working as Artists Assistant for Smadar Dreyfus and Fair Manager for SUNDAY. Prior to this he worked as Head of Exhibitions for Zoo Art Fair and Program’s Coordinator for Max Wigram Gallery. Alongside he has developed an independent curatorial practice, recently founding exhibition space and commissioning agency The Enlightenment Gallery, which to date has been working with artists including Vanessa Billy, Alan Kane, Kelly Large, Negociatas, Giorgio Sadotti, and John Seth. In addition he is a member of artist collective The Hut Project. Recent solo exhibitions include Giles said…, Limoncello, London, 2010; Machine Gun Corridor, The Corridor, BolteLang, Zurich, 2010; and Old Kunst, ICA, London, part of Nought to Sixty.

Ivana Vaseva

(b.1984, Macedonia) studied History of Art at the University St. Cyril and Methodius in Skopje. In addition she has a formal training in collective self-educational and self-organisational processes as part of the one-year long project “Deschooling classroom” (organized by TkH, Belgrade and Kontrapunkt, Skopje). Currently she works at Press To Exit Project Space in Skopje as a programme co-ordinator. Press To Exit Project Space is a special programme-based artist initiative for research and production in the field of visual arts and curatorial practices. She co-organized a couple of projects as part of this organization: Project 35, initiated by Independent Curators International in New York, Urgency vs. Leisure, OuUnPo meeting in Belgrade, OPEN City with aMAZE, cultural institute from Milan She has curated a number of exhibitions in Macedonia, mainly with young artists, and co-curated several international group exhibitions, among which Creative Cities, Artistic Towns and Fantastic Villages as part of the festival 4Tuned Cities, the 4th Performance Art workshop & shows in Cairo, Egypt and the XIV Biennale for young artists from Europe and Mediterranean, Skopje. Ivana has journalistic experience, writing for a daily newspaper in Macedonia until recently.


Marie Frampier

(b. 1985, France) is a freelance curator and art critic. Her research mainly focuses on curating contemporary performance and the performative nature of curating and art criticism. She recently curated “A Little Less Conversation”, a conference with simultaneous performances about exhibiting contemporary performance, at the Stedelijk Museum (Amsterdam). In 2012, she will curate Crache! (solo show by Luciana Lamothe, Galerie Alberta Pane, Paris) as well as an exhibition and a series of performances at la Maison Descartes − Institut Français des Pays−Bas and the Goethe Institut (Amsterdam). She is guest curator of Zone d’Expérimentation #4 (Astérides, Marseille) to work in collaboration with the artists in residency. She regularly contributes to the magazines Critique d´Art, Superstition, and Zérodeux.

Natasha Ginwala

(b. 1985, India) is an independent curator, researcher and writer. She is part of the artistic team of the 8th Berlin Biennale (2014). She has pursued post-graduate studies at The School of Arts & Aesthetics (JNU), New Delhi. Recent projects include Landings (Witte de With Center for Contemporary Art and Partner Organizations); The Museum of Rhythm — a segment of Taipei Biennial 2012; INexactly THIS (2012 edition of Kunstvlaai: Festival of Independents). She has taught in the MA programme of Artistic Research (University of Amsterdam and Sandberg Institute) as well as the Studium Generale Programme at Gerrit Rietveld Academie. Her writing has appeared in publications such as Afterall, Art Agenda, e-flux journal, Manifesta Journal, Metropolis M and Mint (The Wallstreet Journal), among others.

Jacob Korczynski

(b. 1979, Canada) is an independent curator based in Toronto. He has curated projects for the Stedelijk Museum, SAVAC, Oakville Galleries, and was a contributor to Matthew Lutz-Kinoy’s Loose Bodies at Elaine MGK. His writing has appeared in Prefix Photo, C Magazine, Fillip, and The Power Plant publication Jimmy Robert: Draw the Line (in collaboration with Oliver Husain). Currently, he is a researcher for the Performance in Residence platform of If I Can’t Dance, I Don’t Want to Be Part of Your Revolution.

Javier Villa

(b. 1978, Argentina) is a curator, critic and professor based in Buenos Aires. He studied Art History at Universidad de Buenos Aires and curatorial practice at de Appel arts centre, Amsterdam. He has been curating exhibitions in Argentina and internationally for the past six years, writing for La Nacion, the second daily newspaper in his country, different specialized magazines, giving lectures and teaching at Universidad Torcuato Di Tella. He has been involved in the production of two catalogues and a book of essays. He is a member of Rosa Chancho artist collective.

Rieke Vos

b. 1981, Netherlands) studied Art and Architectural History at the University of Amsterdam and the Freie Universität in Berlin. Her thesis was titled ‘Citywalkers. The art of Janet Cardiff and Francis Alÿs’, on walking as art. In 2008 she started working as a researcher for the architecture firm Powerhouse Company in Rotterdam, where she engaged in an extensive research project on the economic crisis and its intricate relation to architecture called Rien ne va plus / Faites vos jeux. She was curator of exhibition Rien ne va plus that opened in September 2009 at the NAiM/Bureau Europe in Maastricht, editor-in-chief of the accompanying reader (published i.c.w. with A10 magazine) and curator of the related symposium organized at the Berlage Institute in June 2010. She is a visiting critic at the project space Lokaal 01 in Antwerp and writes for various magazines such as Mr. Motley, Tubelight and Nowishere. In her practice she combines her interest in contemporary art, urban studies and architecture.

Vivian Ziherl

(b. 1982, Australia) is a curator, critic and researcher. She has been a curator at If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution since 2012. Independent projects include the ongoing research project Landings (Witte de With Centre for Contemporary Art & other partner organizations) and the performance series StageIt! (Stedelijk Museum Amsterdam). Vivian is editor of The Lip Anthology, Macmillan Art Publishing and Kunstverein Publishing in collaboration with Grazer Kunstverein, and contributed to the anthology Curating Research edited by Paul O’Neill and Mick Wilson. She led the summer school A Present in Print at the Copenhagen Contemporary Art Festival (2012) in collaboration with the Royal Danish Academy of Fine Arts. She has been a contributing editor of Discipline, and her writing has appeared in periodicals including Frieze, e-flux Journal, Scapegoat, Pages Magazine, LEAP Magazine, Metropolis M, Eyeline and the Journal of Art (Art Association of Australia and New Zealand), among others.

Final outcome: Fluiten In Het Donker


Nikita, Yingqian Cai

(b. 1978, Guangdong, China) lives and works in Guangzhou and she is currently the curator of Guangdong Times Museum in China. She regularly contributes to The Independent Critic, LEAP and and her critical writings center around issues about curatorial reflection, institutional practice and conceptualism in Contemporary China. Her latest project A Museum That is Not brought up an alternative proposition regarding the historical narrative and status quo of museums in the context of contemporary China.

Alhena Katsof

(b. 1978, Montreal, Canada) is a curator, writer and artist. While earning an MFA at the Glasgow School of Art in Scotland, she founded A.Vermin, and under this pseudonym presented exhibitions between 2006-2009. In 2010 she co-curated the project ‘I’m Not Here. An Exhibition Without Francis Alÿs’ at de Appel’s Boys’ School in Amsterdam with her colleagues from de Appel’s Curatorial Programme. Alhena has contributed to magazines such as Canadian Art, MAP: Journeys in Contemporary Art, and Kaleidoscope. In 2011 she was the Museum as Hub Fellow at the New Museum in New York and co-curated, with Dean Daderko, Directing Light onto Fist of Father, a solo exhibition by the artist MPA at Leo Koenig in New York City, which included a performance that took place as part of Performa 2011.

Direlia Lazo

(b. 1984, Cuba) is an independent curator and art critic based in Barcelona, Spain. She has been an assistant curator at the Wilfredo Lam Art Centre, which organizes the Havana Biennale. In 2009, she was one of the winners of Inéditos 09, a prize established by Caja Madrid for young curators. She has independently curated exhibitions such as Cero, Young Cuban Artists, La Habana (2007); Just Around the Corner, La Casa Encendida, Madrid (2009); I’m not here. An exhibition without Francis Alÿs, de Appel Arts Centre, Amsterdam (2010); and Somewhere Else, NoguerasBlanchard, Barcelona (2011). She is currently developing a one-year exhibition programme for NoguerasBlanchard space in Barcelona under the title The Story Behind and co-curating a solo survey of Roman Ondàk for Times Museum in Guangzhou to take place in 2015. As an art critic, she has written essays for exhibition catalogues and art magazines. She has also worked in different artists’ projects such as Tania Bruguera’s Cátedra Arte de Conducta (Behaviour Art School). She graduated in art history from Havana University.

Yael Messer

(b. 1982, Israel) is an independent curator based in Amsterdam and Tel-Aviv. She holds a postgraduate diploma in curating from Goldsmith College, London. Messer is part of the curatorial duo High&Low Bureau and has been collaborating internationally with museums, institutions and independent art spaces including: Van Abbe Museum, SKOR|Foundation for Art and Public Domain, Israeli Center for Digital Art, Matadero Art Center, CCA Warsaw and the Stedelijk Museum, Amsterdam. Messer was the research curator for the 13th Istanbul Biennial.

Alan Quireyns

(b. 1982, Belgium) studied art history at the University of Ghent and the Freie Universität in Belin. As an independent curator he organized projects such as: Cité-Action, Assenede, 2006; Body Fluids, Conflict Room, Antwerp, 2008; Strategies of Confidence, NICC, Antwerp, 2009; Platform 4, Designcenter de Winkelhaak, Antwerp, 2009; De Connectie. NUCLEO, Ghent, 2011, Entree>Exit, Extra City Kunsthal Antwerpen, 2012. From 2006 onwards he initiated a platform for art exhibitions named QUSS and is chairman since then. In 2009 he participated in the Curatorial Programme of de Appel and co-curated the exhibition: I’m Not Here. An Exhibition Without Francis Alÿs. Short after he worked as associate curator for Special and Offsite projects, for Dublin Contemporary 2011, Ireland. Currently he is artistic director of the Artists In Residence Program AIR Antwerpen and active as writer and freelance curator.

Luis Silva

is a curator and writer based in Lisbon, where he is co-director of Kunsthalle Lissabon. Recent shows he curated include Melvin Moti: Echo Chamber (2012), Pilvi Takala: Flip side (2011), Ahmet Ogut: Stones to throw (2011), Wilfredo Prieto: Landscape with the fall of Icarus (2011), Mounira Al Solh: The sea is a stereo (2010) and Pedro Barateiro: Today our eyes are closed (2010). He co-edited the first and second volumes of Performing the Institution(al), which document Kunsthalle Lissabon’s activities and feature new essays on the topic by international writers.


Clare Butcher

(b. 1985, Zimbabwe) is a curator and writer who cooks. She is currently teaching in Fine Art at the Gerrit Rietveld Academie and a member of the School of Missing Studies, MFA programme at the Sandberg Instituut in Amsterdam, the Netherlands. Recently she conducted an MFA at the Centre for Curating the Archive, University of Cape Town, South Africa during which time she initiated the Annex Residency Programme in collaboration with the South African National Gallery.

Lilian Engelmann

(b. 1977, Leipzig, Germany) studied art history and economics in Leipzig (Germany) and Vienna (Austria) and graduated 2004 with an MA thesis about the Atlas Archive from Walid Raád. She worked at the Vienna Secession, was Tutor at the University in Leipzig and organised different Seminars about video art and courses around the question of the Eurocentric of Art History Education in Germany. As independent curator she did diverse public art project such as “Westend 05 – know your rights” in Leipzig. Since 2005 she works as curator for a Kunstverein at the Rosa-Luxemburg-Platz in Berlin and realized projects with Michaela Meise, Simon Dybbroe Møller, Lucas Lenglet a.o. In 2007 she founded the non-commercial art space: emyt in Berlin: emyt presents and mediates contemporary artistic positions and provides a space for artists and curators with the opportunity to test and discuss different curatorial practices. Besides thematic group exhibitions and solo presentations: emyt aims to be a space to discuss forms of representation of art and social issues. As part of the exhibitions and presentations talks are organized in which artistic strategies, processes and issues are discussed.

Mia Jankowicz

(b. 1980, Great Britain) is a writer and independent curator based between Cairo and London. She has contributed writing to frieze, Untitled, Flash Art, Concept Store, Egypt Independent, Mada Masr, the Exhibitionist, Contemporary And, and towards catalogue texts for Doa Aly, Runa Islam and Frances Stark. With Anna Colin she has collaborated on independent curatorial projects such as Hydrarchy at Gasworks, London and CIC, Cairo, and she is currently working on the sound project An Audio Guide to the Egyptian Museum. She studied Visual Cultures MA at Goldsmiths College and worked as Residencies Curator at Gasworks, London, before participating in de Appel Curatorial Programme. Between 2009-2013 she was Artistic Director of Contemporary Image Collective in Cairo. At CIC, she oversaw major shifts including relocation, the launch of the CIC PhotoSchool, and the development of Rufoof, a combined digital catalogue for major public contemporary art libraries in Egypt. Under her artistic direction CIC developed variously collaborative, publication, exhibition, and critical workshop projects including The Paper Trail with Francesc Ruiz, the Alternative News Agency, Propaganda By Monuments (co-curated with Clare Butcher) and Battles of Images, curated by Shuruq Harb.

Christina Li

(b. 1982, Hongkong, China) is research and project management o the FORMER WEST project since 2011. Li studied art history and comparative literature at the University of Hong Kong in Hong Kong and participated in the de Appel Curatorial Programme in Amsterdam in 2008 – 2009. She co-curated (with Tobias Berger and Yung Ma) Hong Kong’s representation Making (Perfect) World: Harbour, Hong Kong, Alienated Cities and Dreams by Pak Sheung Chuen at the 53rd Venice Biennale (2009). She was part of the editorial team of Actors, Agents and Attendants: Speculations on the cultural organisation of civility (2010), the debut symposia series of SKOR, Amsterdam with Andrea Phillips and Markus Miessen. Previously, she was curator at Para/Site Art Space, Hong Kong from 2006 – 2008, and has regularly contributed to magazines and catalogs in South East Asia. Other recent curatorial projects include: Prologue – Speculations on the cultural organisation of civility, SKOR and various locations, Amsterdam, 2010; Not Yesterday, Not Tomorrow, Cable Factory, Helsinki, 2009; Weak Signals, Wild Cards, Shell Kantine, Amsterdam, 2009; Copied Right, Para/Site Art Space, Hong Kong, 2007; and STABLE – the balance of power, Fotan Open Studios, Hong Kong, 2007. Li lives and works in Amsterdam and Utrecht.

Ana Nikitović

(b. 1977, Belgrade, Serbia) studied History of Art at the University of Belgrade and School for History and Theory of Images, an independent educational project founded by Center for Contemporary Arts in Belgrade. Since 2001 she has been collaborating with the Centre for Contemporary Arts, Belgrade. She was one of the curators of the Yugoslav Biennial of Young Artists, “Untitled As Yet” in Vršac and member of Prelom kolektiv (, Belgrade based group of theorists, curators and activists working on Prelom magazine and organizing various projects. Since 2004 working in the Museum of Contemporary Art in Belgrade. Curator of the “SPAPORT” international annual exhibition of contemporary Art in Banja Luka, Bosnia and Herzegovina.

Ji Yoon Yang

(b. 1977, South Korea) currently works as a director of Corner Art Space, Seoul, and as curator of Mimesis Art Museum, Paju Book City. She was a co-director for Sound Effects Seoul, the first major international sound art festival in Korea with Baruch Gottlieb (2007-2010). After participating in de Appel Curatorial Programme 2008/2009, Yang created the exhibition programs at Space Hamilton, Seoul to become a sought-after public sphere for alternative art and hybrid cultures. From 2006 Yang worked for two years as a curator at Alternative Space LOOP and participated as an editor for two books Korean Museums and Museums of the World through the Korean Museum Associations. Her interest lies in the communication with the public for new social comments through artists and works that experiment with radio, sound, performance and media art. Curated projects include: The Shadows of the Future: 7 Videos from Korea (co-curator with Heiner Holtappel, Museum of Bucharest, 2013), On the Spot (participating curator, National Museum of Contemporary Art Korea, 2012), Mouth to Mouth to Mouth: Contemporary Art from Seoul (co-curator with Ana Nikitovic, Salon of Contemporary Art Museum, Belgrade, 2010), Now What: Contemporary Art and Democracy (Space Hamilton, Insa Art Space of Arts Council Korea.

Final outcome: Weak Signals, Wild Cards


Yulia Aksenova

(b. 1973, Russia) currently lives and works in Moscow as curator of the Center of Contemporary Culture GARAGE, where she organizes shows of both Russian and international art. Aksenova previously ran the education program at the centre, developing a series of symposia, discussions, and master classes. Prior to this, she worked at the State Tretyakov Gallery and worked on independent curatorial projects in various non-profit institutions in Moscow. Aksenova holds an MA in Art History from the Russian State University for the Humanities. In 2010 she participated in The Curatorial Intensive at ICA, New York.

Jesse Birch

(b. 1973, Canada) is a Vancouver based curator, writer and educator. Birch holds a BA degree in Fine Arts (Photography) from Emily Carr University of Art and Design, and a MA Degree in Art History (Critical and Curatorial Studies) from the University of British Columbia. Birch has written for numerous art publications, and is Vancouver Editorial Advisor for C Magazine. He was Co-Director/Curator of Access Gallery from 2008 to 2010, and he is currently Exhibitions Curator at The Western Front. Birch has been teaching in the Critical and Cultural Studies Faculty at Emily Carr University since 2009.

Sarah Farrar

(b. 1980, New Zealand) is curator of contemporary art at the Museum of New Zealand Te Papa Tongarewa in Wellington. In 2010, she was guest-curator at Foundation dertien hectare, where she realised the exhibition ‘ The woods that see and hear’. Until August 2007, Sarah Farrar (New Zealand,1980) was Curator at City Gallery Wellington, New Zealand, where she curated the ongoing video programme, SQUARE2 (2006-07), ‘Contemporary Projects’ and ‘Lost and Found Video Programme’ (2007), ‘Salla Tykkä: Cave and Zoo’ (2007), ‘Peter Madden: Escape from Orchid City’ (2006-07) and ‘Yuk King Tan: Overflow’ (2005-06). From 2004-06 Sarah Farrar was Assistant Curator at City Gallery Wellington where she organised over twenty exhibitions for the Michael Hirschfeld Gallery. Sarah Farrar was a member of the Board of Trustees, of High Street Project, an artist-run space in Christchurch, NZ. She holds BA Art History (First Class Honours) from the University of Canterbury, Christchurch, NZ. Sarah Farrar’s attendance of de Appel’s Curatorial Programme is supported by Creative New Zealand Toi Aotearoa.

Inti Guerrero

(b. 1983, Colombia) is an art critic and curator. He studied History and Theory of Art and Architecture in Universidad de Los Andes, Colombia and Universidade de São Paulo, Brazil. Guerrero is currently Associate Artistic Director/Curator of the independent art space TEOR/éTica, San José, Costa Rica. Recent curatorial projects include: A Journal of the Plague Year. Fear, ghosts, rebels. SARS, Leslie and the Hong Kong story (co-curated with Cosmin Costinaş), Para Site, Hong Kong, 2013; Men Amongst the Ruins, TEOR/éTica, 2012; Kadist. Pathways into a collection, Minsheng Art Museum, Shanghai, 2012; The City of the Naked Man, Museu de Arte Moderna de São Paulo, São Paulo, 2010; Flying Down to Earth, MARCO, Vigo and FRAC Lorraine, Metz, 2010; and Duet for Cannibals, Royal Tropical Institute, Amsterdam, 2010. His writings have appeared in Afterall, ArtNexus, Metropolis M, Nero, Manifesta Journal, and Ramona, among other publications. Guerrero lives and works in Hong Kong and periodically works from San José.

Virginija Januškevičiūtė

(b. 1979, Lithuania) is a curator at the Contemporary Art Centre (CAC) in Vilnius, and one of the founding editors of The Baltic Notebooks of Anthony Blunt. Her recent exhibitions include The Nineties – an exhibition at Kim? Contemporary Art Centre in Riga set alongside a 20-page complaint by the philosopher Arūnas Sverdiolas; Proteus – a project dedicated to the possibility of metamorphoses of art experiences, curated for the CAC with the philosopher Kristupas Sabolius; Intermission – a one-day-only for Survival Kit festival in Riga built around the idea of encounters in between the acts (in theatre and otherwise); Illusionists. On Stage Design and Contemporary Art curated for the CAC with Julija Fomina; Panslavisms – an exhibition in Warsaw that looked at some of the cultural and socio-political tensions within the Eastern European region, curated with Joanna Warsza. Along with Aurimė Aleksandravičiūtė and Jonas Žakaitis she is appointed Curator of the 12th Baltic Triennial of International Art, organised by the CAC Vilnius.

Final outcome: Master Humphrey's Clock


Annette Schemmel

(b. 1979, Germany) works as curator, stage designer, writer/editor and art historian based in Berlin. She has worked as assistant curator at Sabarsky Collection/Germany before being awarded the H+F Curatorial Grant of FRAC Nord-Pas de Calais, Dunkerque. Since 2009 she publishes internationally (On Curating, Savvy Online Magazine, IDEA, African Arts etc.) and works as associate curator with the European artist platform Enough Room for Space. She is specialized in Contemporary Art from African contexts and its discourses lately, partly through her PhD project at FU Berlin that is dealing with informal professionalization strategies of contemporary artists in Douala, Cameroon. With this research and as co-editor of the DiARTgonale Special Editions she enriches the debate on the art field’s globalization by perspectives of artists at its periphery and explores modes of cooperation.

Karolin Tampere

(b. 1978, Tallinn), based in Bergen, Berlin and Stockholm, developed her curatorial practice alongside her studies at the Visual Art department of the National Academy of Arts in Bergen, initiating her first curatorial exploration in 2002. This led to several still ongoing collaborations. In 2006 she initiated I LoveYourWork – which had its anchor point at Landmark, Bergen Kunsthall- with the drive to commission and co-produce new works with artists that work with different methodologies in the diverse field of performance and sound. Part of her practice as an artist and a curator she has contributed to artist books, installations, catalogues as well as lectured at Universities and leading art institutions amongst others in Tallinn, Oslo, Santiago de Chile, Copenhagen, Vancouver and Reykjavik. Since 2004 she is regularly contributing to the art project Sørfinnset Skole / the nord land in Gildeskål, Norway, a sister project to The Landfoundation in Chiangmai, Thailand. With an interest in the discourse on art and public space she worked as consultant for (KORO) art in public space Norway, where she in 2010 together with Annette Kierulf commissioned four large-scale permanent artworks for the University of Bergen. Together with artist and curator Åse Løvgren, she initiated the ongoing collaboration RAKETT (2003), which is a mobile platform for multivocal exchange through collaborative curatorial and art projects. Implicitly and explicitly, their work touch on a range of questions around (co)authorship, (im)material production, the role of artist and curator, and the potential of mobile and changeable platforms in the institutional infrastructure for art and the society at large. Previously Rakett curated COMMON LANDS – Allmannaretten, an exhibition project that through seminars, readers and art projects utilized the process of redevelopment of Oslo´s former industrial harbour, Bjørvika, to highlight a number of socio-political issues associated with the common in relation to urban development, democracy, access to and the distribution of land and resources. Since January 2013 she is the director at Konsthall C in Stockholm.

Magdalena Ziółkowska

(b. 1981, Poland) is an art historian, writer and Curator of Contemporary Art at the Muzeum Sztuki in Lodz ( She is a graduate of Curatorial Programme (de Appel arts centre, Amsterdam 2006/2007). Between 2006–2010 she was a guest curator at Van Abbemuseum in Eindhoven where she curated and edited Notes From the Future of Art. Selected Writings of Jerzy Ludwiński (2007), co-curated the solo exhibition of Minerva Cuevas (with Annie Fletcher, 2009) and Andrzej Wróblewski. To The Margin and Back (2010). Recent projects at the Muzeum Sztuki include Art Always Has Its Consequences (2008–2010) an international platform for art from the post-communist Europe, Working Title: Archive (2008–2009), individual exhibition of Sanja Iveković Practice Makes the Master (Lodz, 2009) and a group exhibition Eyes Looking for a Head to Inhabit (2011). In 2012 she submitted at the University of Warsaw the PHD dissertation Museum of Current Art – Discourse and Event in which she focuses on the Polish museum discourse between 1965–1975 within broader European perspective. Currently she works on the project on the experience of improvisational movement for 2013 and the collection on theoretical writings by Zbigniew Dłubak (1921–2005).

Andrew Cannon

(b. 1974, England) is an arts organiser occupying a mid-point between artist and gallery, realizing ambitious projects for artists, often in the face of restrictive means. He studied Graphic Design at Camberwell School of Art and also holds a Master of Science in Advanced Architectural Studies from the Bartlett School of Graduate Studies. He has worked for artists such as Darren Almond and Carsten Nicolai as their assistant and as project manager at the Kunstwerke Institute of Contemporary Art in Berlin. He has curated five exhibitions which has included the work of Saskia Olde Wolbers, Emma Kay, Gabriel Lester, Tonico Lemos Auaud and Daragh Reeves. He has also directed the music to the feature film Movern Callar.

Camila Marambio

(b. 1979, Chile) is a private investigator, amateur dancer and independent curator. She holds an MA degree in Modern Art: Critical and Curatorial Studies from Columbia University and a BA degree in Aesthetics from Universidad Cátolica, Santiago, Chile. Currently, she directs the research residency program Ensayos -based in Tierra del Fuego- through which artists, scientists, and local inhabitants contemplate and engage in movements related to Ecology. From 2008-2010 she directed the Visual Arts Department of the cultural centre Matucana 100 in Santiago, Chile and in 2010 she was resident at Kadist Art Foundation in Paris, the city were she participated in the Program of Experimentation in Arts and Politics at Science Po.

Maaike Gouwenberg

(b. 1977, the Netherlands) is a freelance curator and producer based in Rotterdam. She is interested in performative practice, and the projects that she has been involved in bring together theatrical and curatorial aspects. Since 2007 she worked as a curator at If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution on ambitious performative projects. In 2010, Gouwenberg initiated A.P.E (Art Projects Era) with artist Keren Cytter. Her résumé includes a number of large international collaborations and projects but also a continuing long-term collaboration with artist Joris Lindhout on the project Gothic as a Cultural Strategy. Currently she starts a new performance program and a residency for artists and theatre makers called Deltaworkers, based in New Orleans. She is a short film programmer for the International Film Festival Rotterdam, a committee member at the Mondriaan Fund, and a board member of Enough Room for Space, Ponies Theater, and Touki Delphine.

Final outcome: The Go-Between


Defne Ayas

(b. 1976, Turkey) is the Director and Curator of the Witte de With Center for Contemporary Art in Rotterdam. During her directorship, Witte de With commissioned The Humans – an ambitious theatrical play by writer and artist Alexandre Singh to premiere in Fall 2013 and its monthly signature summits Causeries, and co-commissioned the open archive and collection Tulkus 1880 to 2018 by Paola Pivi. Ayas curated Blueprints by Chinese artist and thinker Qiu Zhijie (2012), Line no. 2 (Holy Bible) by Turkish-Swedish artist Meric Algun Ringborg and co-curated Surplus Authors with Phillippe Pirotte (2012). In addition, Ayas launched the art & research program The World Turned Inside Out (2013- ongoing) and Witte de With’s new online platform WdW Review, where she is currently, together with writer and curator Adam Kleinman, the Chief Co-Editor.

Tessa Giblin

(b. 1978, New Zealand) is Curator of Visual Arts of Project Arts Centre, Dublin. She has commissioned new exhibitions with Geoffrey Farmer, Lonnie van Brummelen & Siebren de Haan, Sung Hwan Kim, Jesse Jones, Katya Sander, Niamh O’Malley, Mario Garcia Torres, Clemens von Wedemeyer, Sarah Browne, and Mikala Dwyer amongst others, and curated group exhibitions including The Prehistory of the Crisis 1 & 2, Blackboxing, and Conjuring for Beginners, which took place across the gallery and the two black box theatres of Project Arts Centre. In 2011 she co‐initiated the Visual Arts Workers Forum, which continues to develop as a networking and forum for debate in the visual arts of Ireland, and in 2013 has partnered with IMMA to develop an International Visitor’s Program for Ireland. She was previously Assistant Curator at Artspace, Auckland, and Director of Fresh and Gridlocked in Christchurch, New Zealand, where she graduated BFA from Canterbury University School of Fine Arts.

Ştefan Rusu

 (b. 1964, Moldova) is a visual artist/freelance curator based in Chisinau and Bucharest. Stefan’s artistic and curatorial agenda is closely connected to undergoing processes and changes that occurred in the post-socialist societies after 1989. Among his preoccupations are the aspects of mass-manipulation techniques, political engineering strategies (political engineering), forms of colonization and forced culturalization that culminated in some cases with the construction of artificial entities, as it is the case in the Republic of Moldova. Rusu was trained as a visual artist and later extended his practice to curating, managing and fundraising projects, editing TV programs, producing experimental films, TV reports and documentaries. Starting from the year 2000 he is involved in the evolution of KSAK Center in the frame of which he is responsible for designing and managing curatorial projects and programs. After completing the Curatorial Programme he returned to Chisinau where he designed and managed the project RO-MD/Moldova in Two Scenarios (2008) that, by juxtaposing, investigates the current cultural, social and political situation in two Moldova regions. His most ambitious curatorial endeavor up to date is CHIȘINĂU – Art, Research in the Public Sphere (completed in 2010), which aimed to explore the dominant institutional and political discourses that have shaped the society and the urban landscape of the city of Chisinau in the course of its recent history.
In 2010 he attended the residence at Centre International d’Accueil et d’Echanges des Récollets, Paris where he realised – Drifting Identity Station (curatorial research project), in the same year he was awarded a CEC Artslink Fellowship and completed the residence at Graduate Program in Curatorial Practice of California College of the Arts in San Francisco.

Laura Schleussner

was recently named (December 2011) the artistic director of the Kunstverein Göttingen. She has worked as a freelance curator, arts writer and translator and is based in Berlin.

Angela Serino

(1977, Benevento, I). Angela is an independent curator based in Amsterdam. Among her recent projects: “Contemporary Passages: temporary roots and interweaving paths” as guest-curator at TENT. Rotterdam (March-July 2007); solo show of Ursual Mayer for Impakt festival, Centraal Museum Utrecht (March-May 2007) and co-curated the project “Beauty Unrealized”, at PSWAR, Public Space With a Roof, Amsterdam (December 2006-June 2007) and “Catalyst”, de Brakke Grond, Amsterdam (July-June 2006)[together with T.Giblin]. She completed De Appel Curatorial Training Program in April 2006 with the collaborative exhibition “Mercury in Retrograde”. Before joining De Appel, Angela has curated “Beautiful Nature” (Premio Mauro Manara, Bologna, 2005); “Conflitto,conflitti” (Villa Serena,Bologna,2005); “Qui.NewRelease” (Gamec, Bergamo 2004) as member of Synapser, collective of Italian young curator. And different events and film-screening in Siena, Bologna, Napoli. Angela graduated with honors in Mass Communication at the University of Siena(It) in 2003. She started her professional career at Galleria Continua (San Gimignano, SI), where she worked as gallery-assistant for the period 2001- 2002.

Final outcome: Mercury In Retrogade


Rael Artel

(b. 1980, Estonia) is an independent curator based in the forests of Estonia. She graduated from the Institute of Art History at the Estonian Academy of Arts in 2003. Since 2000, she has contributed to a number of magazines in Estonia and elsewhere, and curated shows in Estonia, as well as in Amsterdam, Lisbon, New York, Riga, and Warsaw. In 2004-2008 she ran and moderated her experimental project space ‘Rael Artel Gallery: Non-Profit Project Space’. In 2007 she initiated “Public Preparation”, a platform for knowledge-production and network-based communication, which since the beginning of 2008 has focused on issues of nationalism and contemporary art in Europe in the format of international meetings. She is an artistic director of festival of contemporary art ART IST KUKU NU UT in Tartu, Estonia. More info about the project could be found at and

Kathrin Jentjens

(b. 1978, Germany) works as an art historian and curator. From 2007 to the end of 2011 she was co-director of the Kölnischer Kunstverein together with Anja Nathan-Dorn. At the Kölnischer Kunstverein they realised exhibitions with the artists Judith Hopf, Mark Leckey, Michael Krebber, Seth Price, Nora Schultz, Alexandra Bircken, Melanie Gilligan, Simon Denny, Kerstin Brätsch & Das Institut and many others. Before 2007 Kathrin Jentjens has been running the artist-in-residence programme of Projekt Just in Düsseldorf and has been working as a freelance curator for the project space kjubh in Cologne. She has worked with artists like Wolfgang Breuer, Lucie Stahl, Ulla Rossek, Alex Müller among others. She is currently working as a freelance curator and critic in Düsseldorf.

Claire Staebler

(b. 1978, Strasbourg) is a freelance curator and art critic. She was a curator at the Palais de Tokyo from 2002 to 2007, then the artistic director of the PinchukArtCentre in Kiev from 2007 to 2009. In 2006 she was an associate curator of the Busan Biennial. Between 2007 and 2009 she cocurated, with Jelena Vesic, the project No More Reality, crowd, performance and reenactment, in Belgrade, Amsterdam and Istanbul. She recently organized the exhibitions “La Fabrique sonore, Expérience Pommery#9” (Reims, 2011) and “Transaction Abstraite, Charles Atlas, Mika Tajima” (New Galerie, Paris, 2011). She is one of the associate curators of the 2012 Triennale, “Intense Proximity” (artistic director: Okwui Enwezor). She contributes regularly to several publications specialized in contemporary art.

Jelena Vesic

(Belgrade, 1974) graduated as an art historian from the Faculty of Philosophy at Belgrade University in 2003. From 1995 through 1999, she contributed to several art magazines and radio programmes. Since 1998 she works as a freelance curator. In July 2004, Vesic was curator at the Yugoslav Biennial of Young Artists in Vrsac.

Huib Haye van der Werf

Huib Haye van der Werf was interim-director at de Appel arts center in Amsterdam in 2022. Before that he initiated/led together with Radna Rumping mistral in Amsterdam, an organization dedicated to archives and abundance. In 2019, he was appointed curator of the 2020 Yinchuan Biennale in China (cancelled due to Covid-19). From 2013 to 2020 he was head of the artistic program at the Jan van Eyck Academy in Maastricht. Furthermore, from 2012 to 2014 he worked as founder/curator for TAAK, an international organization for social-artistic commissioning; from 2011 to 2012 curator for the Art in Public Space Foundation (SKOR); and from 2008 to 2011 curator for the Netherlands Architecture Institute (NAi) in Rotterdam (now Nieuwe Instituut). He also writes fiction, children’s stories, contributes to periodicals such as Artforum, Metropolis M, Mousse Magazine, Manifesta Journal and Open, and has written for various artist-publications and film/performance productions. He has a podcast series called The Listening Tide that he hosts in his living room in Amsterdam, where he is also the part-time father of a ten-year-old.

Veronica Wiman

(Stockholm, 1975) is an independent curator and and Professor of Contemporary Art at Tromsö Academy of Contemporary Art. She is currently a guest researcher in the Living Archives research project at Malmö University www. Recently she directed Espacio de Arte Contemporáneo at Museo de Arte Moderno la Tertulia in Cali Colombia. She has done extensive worldwide projects of urban interventions and citizen engaged exhibitions. Her current research focuses on artistic practices and urban planning.

Final outcome: Radio Days


Danila Cahen

(The Netherlands) is an art critic. She works as assistant curator at BAK (Basis voor Actuele Kunst) in Utrecht and lives in Amsterdam.

Binna Choi

(b. 1977, South Korea) has been director of Casco – Office for Art, Design and Theory since the summer of 2008. She has been running Casco’s cross-disciplinary programme, which focuses on the construction of social space and issues of collaboration, collective production and the common vis-à-vis the contemporary, social and political condition. Choi has also been developing a long-term “living research” project The Grand Domestic Revolution – User’s Manual at Casco in collaboration with Maiko Tanaka and Group Affinity, a summer school and exhibition, at Kunstverein München with Bart van der Heide. Prior to Casco, she worked as part of the curatorial team at BAK, basis voor actuele kunst in Utrecht. Choi is member of the faculty at the Dutch Art Institute / ArtEZ and she is a founding member of Electric Palm Tree, a platform for research and meetings, triggered by the presence of electric palm trees in South Korea, Japan, Indonesia and the Netherlands.

Bree Edwards

(USA) works as a curator at The Asheville Art Museum in North Carolina.

Amiel Grumberg

(France, 1980 – The Netherlands, 2004)

Solvej Helweg Ovesen

 (b. 1974, Denmark) is currently curating the traveling group exhibition “Never odd or even – a text spaced exhibition”, in Grimmuseum, Berlin, and Museum of Contemporary Art, Roskilde, DK. She recently curated the 4th Fotofestival Mannheim Ludwigshafen Heidelberg with Katerina Gregos, in 7 art institutions presenting 60 artists. The title was “The Eye is a Lonely Hunter- Images of Human kind” and the exhibition presented lens-based media – photography and film. Amongst the institutions were Wilhelm-Hack Museum, Kunsthalle Mannheim and Heidelberger Kunstverein. Apart from that she curated a group exhibition on the role of craftsmanship in contemporary art, “Folklore – Old new Forms”, at Kunsthalle Møn44, Møn, DK. Other selected activities: She is board member of the festival organisation “Golden Days”, Copenhagen and teacher at NODE Centre for Curatorial Studies, Berlin, DE.

Victor Palacios

(Mexico) is currently chief curator at Museo de Arte Carillo Gil in Mexico city. Before this he worked as a freelance curator and he worked as assistant curator for the Manifesta 5 in San Sebastian. He lives in Mexico city.

Final outcome: Quicksand


Francesco Bernardelli

(Italy) has a degree in Art History and Cinema Studies, and has written about the relation between filmic media, visual arts and experimental music. Since the late 90s he has arranged specific projects related to audiovisual programmes, performance events, public meetings and discussions. Since 1999, he has organised film & video programmes devoted to the visual arts and moving images for the Castello di Rivoli Contemporary Art Museum, usually as a joint project with the Cinema National Museum, Torino. Recently, he has published essays on the historical connections between early performance, video art and experimental dance. He has curated shows and performance events for the City of Torino and the Piedmont Region. He is currently cataloguing the video collections of the Castello di Rivoli.

Edit Molnár

(b. 1973, Hungary) is a freelance curator and critic based in Berlin and Budapest. Between 2009 and 2007 she has been the director of the Contemporary Image Collective CIC, Cairo. From 2004 till 2007 she was curator of the Mucsarnok/Kunsthalle, Budapest. Before that she was the Director of the Studio of Young Artists Association Gallery in Budapest, which is an exhibition space and organisation focusing on establishing and fostering connections with foreign partner institutions. Edit is a member of AICA (Association Internationale de Critiques d’Art) and has a BA in Art History from Eötvös Lóránd University. She earned a MA in Art History in 1998 and a MA in Aesthetics and Theory of Art in 2005 from Eötvös Lórónd University, Budapest. In 2003 she was awarded a Kállai Erno grant for critics from the Hungarian ministry of culture. She has been a contributor to the contemporary art magazines Balkon, Exindex. Since 2010 she has been the Berlin correspondent of the art magazine Műértő. Recent curatorial projects include the “Fear in the Black Box” (with Marcel Schwierin) in Trafó Gallery, Budapest (2011), co-curating the project “Indicated by Signs” Bonner Kunsthalle, Bonn (2009), PhotoCairo4: The Long Shortcut, (with Aleya Hamza) Cairo, (2009),”Tales around the Pavament chapter 1-2″ Cairo (2008) and ‘Dreamlands Burn’ at Mucsarnok/Kunsthalle (with Lívia Páldi). Together with Aleya Hamza she founded in 2009 the curatorial collective called HAMZAMOLNAR and their recent project is the publication: Indicated by Signs – Contested Public Space, Gendered Bodies, and Hidden Sites of Trauma in Contemporary Visual Art Practices which was launched in January 2011.

Mai Abu ElDahab

(Egypt) is a freelance curator from Cairo, based in Brussels. She was from 2007-2012, the director of Objectif Exhibitions in Antwerp, where she curated a programme of solo shows by Guy Ben-Ner (IS), Mariana Castillo-Deball (MX), Michael Stevenson (NZ),Hassan Khan (EG), Michael Portnoy (US), Norma Jeane and Tim Etchells (UK), and Patricia Esquivias (ES), Barbara Visser (NL), amongst many others. She recently edited and co-edited several publications including From Berkeley to Berkeley (2011), After Berkeley (2012), Circular Facts (2011) and Hassan Khan “The Agreement” (2011), all from Sternberg Press, and she has written most recently for Artforum and Mousse Magazine.

Natasa Petresin

(1976, Ljubljana) is an independent curator and critic. She graduated in Art History and Comparative Literature from the University of Ljubljana. She has finished her Master studies at EHESS where since 2006 she is a PhD candidate. She has published articles on contemporary and new media art in catalogues and in NU: The Nordic Art Review, Stockholm, Springerin, Vienna, Arco Magazine, Madrid, Acoustic Lab Readet, Riga, Frakcija, Zagreb, Framework, Helsinki and Arteliet, Bucharest. She is a contributing editor of In 2003 she worked as assistant curator for the exhibition In the Gorges of the Balkans at the Museum Fridericianum, Kassel, curated by Rene Block. In 2002 she participated in the Curatorial Training Programme at De Appel Foundation in Amsterdam, where she co-curated Haunted by Detail. In 2001 she was assistant curator of the Slovene pavilion at 49th Venice Biennial. She has curated the exhibitions Open Beats (2003, Bezigrad Gallery, Ljubljana), Our House Is A House That Moves (2003, Pavelhaus, Laafeld, Austria; 2004, Skuc Gallery, Ljubljana), You Are Not Alone (2002, Pavelhaus, Laafeld, Austria), Sound in Art (2001 , Gallery Priestor, Bratislava) and a series of electronic sound art events RE-LAX (2001-2002, Ljubljana, together with new media artist Marko Peljhan). Within the frame of Peljhan’s art organisation Projekt Atol, she co-founded the label for experimental electronic music, rx:tx. Since 2002 she has been a member of the jury for intermedia arts at the Ministry of Culture of Republic of Slovenia, and since 2000 a member of the Slovene Society of Aesthetics. Currently she is organising, together with Gregor Podnar, a conference about cultural policies and the art market in Central and South Eastern Europe (Museum of Modern Art, Ljubljana), and is the coordinator of the Skuc Gallery’s commercial activity. In 2006 she worked within the curatorial assistance for the 4th Berlin Biennale with an Ifa-Rave scholarship, conceiving and leading an international seminar on contemporary curating in collaboration with Goethe Institute and Allianz Stiftung. In 2007 she has co-curated a large-scale research-based project ‘Société Anonyme’ at Le Plateau in Paris. In 2008 she is the guest curator of the exhibition at the transmediale 08 festival, taking place at Haus der Kulturen der Welt in Berlin.

Basak Senova

(b. 1970, Istanbul) studied Literature and Graphic Design (MFA in Graphic Design and Ph.D. In Art, Design and Architecture at Bilkent University). Senova is the editor of various publications and books and was the curator of the Pavilion of Turkey at the 53rd Venice Biennale (2009); lectured (Assist.Prof.Dr.) at the Faculty of Communication, Kadir Has University, Istanbul (2006-2010); currently, she co-curates UNCOVERED project in Cyprus and works as the curator of the Zorlu Center Collection.

Nikola Dietrich

Since October 2007 Nikola Dietrich (b. 1972, Germany) has been the programming curator of Museum für Gegenwartskunst in Basel where she has been curating the group exhibitions Above-the-Fold, Little Theatre of Gestures, as well as solo presentations with Hannah Villiger, Enrico David, Monica Bonvicini, Tom Burr, Francis Alÿs, Rodney Graham, Kirstine Roepstorff, Pierre Huyghe, Henrik Olesen, Edgar Arceneaux, Karlheinz Weinberger, Tim Rollins & K.O.S. amongst others. She is also co-founder of the recently opened project space ELAINE in Basel, operating an independent program of art events.

Final outcome Haunted By Detail


Hilde de Bruijn

(b. 1971, Netherlands) is a curator based in Amsterdam. After participating in the De Appel Curatorial Training Programme (2000-2001) she worked as an independent curator in collaboration with various artists-run spaces and other cultural organisations such as Bureau Venhuizen in Rotterdam. She subsequently became assistant curator to Maria Hlavajova at BAK, basis voor actuele kunst in Utrecht, NL (2002-2003). Between 2004 and 2006 she organised various projects as an independent curator, including Hidden Rhythms, an exhibition at Museum Het Valkhof and Paraplufabriek, Nijmegen. Participating artists included Yael Bartana, Susan Philipsz, Mladen Stilinovic, Mark Titchner, Richard Venlet; Ritualizing, an interdisciplinary series of lectures, screenings and performances organised for the MA Visual Arts programme of the Piet Zwart Institute, hosted by Witte de With/TENT, Rotterdam. Guests included Professor of Media and Communications Nick Couldry, Professor in Ritual Studies Ronald Grimes, Professor of Social Anthropology Sharon Macdonald, artist Lisl Ponger, cultural theorist Laura U. Marks, artist Lindsay Seers. From to 2007 to 2010 she was Head of Exhibitions at SMART Project Space, where she curated numerous solo and group exhibitions, artist talks and related events such as A Number of Worlds Resembling Our Own; Forward! On the revitalisation of modern architecture; Usable Pasts, Concerted Forgettings; Field Work 1 and 2; On Joy Sadness and Desire. From 2007 De Bruijn is a member of the Advisory Committee for the Netherland Film Fund (experimental film) and of the Advisory Committee for Visual Arts, Design and Architecture, for the City of Utrecht where she worked on newly commissioned work with artists Ken Lum, Nathalie Bruys and Tod Hanson. From 2011 De Bruijn is curator for the Cobra Contemporary Programme at the Cobra Museum, Amstelveen, and working on various projects as an independent curator and advisor including Reviewing the Caption, two expert meetings and a publication by artist-duo Lonnie van Brummelen & Siebren de Haan.

Barbara Clausen

(Austria/USA) is a curator and an art historian. She received her PhD in Art History from the University of Vienna, Austria on Performance: ‘Documents Between Action and Spectator. Babette Mangolte and the Historization of Performance Art’ in 2010 and is currently a guest professor at the Département d’histoire de l’art der Université du Québec in Montreal, Canada. She has since 2004 been a researcher and fellow at the IFK (International Reserachcenter for Cultural Studies) in Vienna, the Cinema Studies Department at New York University (2004 – 2006), as well as the Gail and Stephen A. Jarislowsky Institute for Studies in Canadian Art at Concordia University in Montreal (2010). Next to her teaching at various art academies in Vienna and Copenhagen and Cooper Union and Bard College New York, she is a former participant of de Appel curatorial programme (2000/2001). Clausen has worked at Dia Art Foundation (New York) from 1997-2000 and at Documenta11 (Kassel). Amongst other film-screenings and exhibition projects she has curated the exhibition and performance series After the Act: The (Re)presentation of Performance Art (2005), the performance and lecture series wieder und wider / Again and Against(2006) and Push and Pull (2010/2011) the latter in collaboration with Achim Hochdörfer at the MUMOK Stiftung Ludwig, Vienna and Catherine Wood at TATE London, as well as most recently Down Low Up High Performing the Vernacular at Argos in Brussels (2011). She is currently organizing an exhibition and film retrospective on the work of Babette Mangolte for VOX, centre d’art contemporain and the Cinémathèque Québécoise in Montréal (2013).

Dominique Fontaine

is a curator, researcher, cultural advisor and Founding Director of aposteriori, a non-profit curatorial platform – researching, documenting, developing, producing and facilitating innovation in diverse contemporary art practices. Currently, she is developing a multi-year, multidisciplinary project on new forms of collaborations and connections between artistic zones in Africa and Canada. Her upcoming exhibition will focus on Photography and Video from Latin America and the Caribbean. Fontaine graduated in visual arts and arts administration from the University of Ottawa (Canada). Her ongoing research, “Evidence: Inter-documentation”, surveys Contemporary Visual art practices by Black artists, curators, critics, theorists and art historians as a response to a gap concerning the accessibility of updated material on diverse artistic propositions from Africa and its Diaspora. Since 1992, she has curated and organized several contemporary art events in Canada and abroad. Her recent curatorial projects included “Images, Imageries, Imaginaires” – International Photography Exhibition of the World Festival of Black Arts and Cultures, December 2010; “Forms and topographies: African Cityscape in flux”, 2009, Thessaloniki Biennale, Greece; “Moshekwa Langa: Unlimited”, Art Star Video Biennial, August 2005; “Zineb Sedira”, Art Star Video Biennial, July 2003. Dominique Fontaine lives in Montréal (Canada).

Ilina Koralova

(Sofia, Bulgaria, 1974) lives and works in Leipzig, Germany. She attended the National Academy of Arts, Department of History of Arts and graduated with an MA in 1998. ln 2000-2001 she attended the Curatorial Training Programme of the De Appel Foundation, Amsterdam. Since 2003 she has been curator at the Galerie für Zeitgenössische Kunst Leipzig (Germany). In 2002-2003 she won a scholarship at the Galerie für Zeitgenössische Kunst Leipzig.

Lívia Páldi

Born in Budapest, Lívia Páldi has been chief curator at the Mucsarnok / Kunsthalle Budapest from 2007 to 2011. She has organized numerous exhibitions, including “Other Voices, Other Rooms—Attempt(s) at Reconstruction. 50 Years of the Balázs Béla Studio,” Mucsarnok / Kunsthalle Budapest (2009); “Robert Capa,” Ludwig Museum – Museum of Contemporary Art, Budapest (2009); “The Producers,” Ernst Museum–Mucsarnok / Kunsthalle Budapest (2008); “Mircea Cantor: Future Gifts,” Mucsarnok / Kunsthalle Budapest (2008); “Deimantas Narkevicius: History Continued,” Mucsarnok / Kunsthalle Budapest (2007); “!REVOLUTION?” (with Ulrike Kremeier), Collegium Hungaricum, Berlin (2006); and “Dreamlands Burn,” Nordic Art Show 2006 (with Edit Molnár), Mucsarnok / Kunsthalle Budapest (2006). Páldi has edited several exhibition catalogues; she was a contributing editor of East Art Map magazine and book organized by the artist collaborative IRWIN in Ljubljana (2002–5). She is currently a doctoral candidate in the Institute for Art Theory and Media Studies at Eötvös Loránd University, Budapest. She is one of the curatorial agents of dOCUMENTA (13) and is director of the Baltic Art Center in Visby, Sweden.

Nuno Sacramento

was born in Maputo, Mozambique in 1973. ln 1999 he graduated in Fine Arts Sculpture from the Fine Arts School of Lisbon University. In the following year he did the Advanced Course of Contemporary Art at Maumaus School and worked as curatorial assistant for Antonio Cerveira Pinto at Galeria Quadrum in Lisbon. In 2000-2001 he did the Curatorial Training Programme at the DeAppel Foundation with a bursary from the Calouste Gulbenkian Foundation. Since 2001 he has been doing a PhD by practice in curation at the University of Dundee, where he lectures the module Professional Practice/Exposition. He is presently based between Dundee, Utrecht and Faro, and works as free-lance curator and writer. Amongst other projects he is working on Art Cup (Lisbon), A-Tipis (Ghent) and The Sculpture Show (Dundee).

Final outcome: inthemeantime...


Jane Bhoyroo

(England, UK) is an independent curator, project manager and co-director of arts agency Kaavous-Bhoyroo ( Jane is currently sculpture curator for the Arts Council Collection (2011-2012) and was previously a Visual Arts manager at Arts Council England (2004-2010). She was a curator at Anthony Reynolds Gallery, London between 2000-2004 and has also worked at Matt’s Gallery, London and as an assistant curator on East at Norwich Art Gallery. She has a Masters in British Art (1945-67) from the Courtauld Institute of Art.

Sophie O’Brien

(Perth, 1972) is exhibition manager at the Biennale of Sydney 2004. Curatorial projects include Slipstream: Visual Art Festival 2002 which included Multiplicity, Multiplicity, The Moores Building; Around now: Grace Weir, Kitsune: Joao Penalva; Apparitions: Matthieu Laurette, John Curtin Gallery; Elvis has just left the building: Roland Boden, Rodney Glick, Christian Hoischen, Danius Kesminus, Mattthieu Laurette, Louise Paramour, Marjetica Potrc, Antoine Prum, Jim Shaw, Ann-Sofi Siden, Ronnie van Hout, Perth Institute of Contemporary Art (co-curator ); Minus Monsters: Thea Costantino & Simon Pericich, Mandurah Art Gallery; Juvenate & Halfeti (only fish shall visit), FUEL Cafe & Bar at PICA, Visual Art Festival 2001 including Stan Douglas / Bill Viola, John Curtin Gallery (co-curator); do it, Lawrence Wilson Art Gallery (with Hans-Ulrich Obrist); Dwelling place / Mia mia: Valerie Takao Binder, Western Australian Museum (co-curator); Promised Land: Nien Schwarz, The Church Gallery (project manager); Plan B, 2000 De Appel, Amsterdam (co-curator): Alicia Framis, Asier Perez Gonzales, Daniel Garcia Andujar, Jens Haaning, Matthieu Laurette, Orgacom, Plamen Dejanov & Swetlana Heger, Superflex, 1999 25 songs on 25 lines of words on art statement for seven voices and dance: Joe Felber, Elliott Gyger & Lucy Guerin, Art Gallery of WA; Torn Apar’t, Art Gallery of WA (assistant curator).

Florence Derieux

(France, 1973) studied Art History in Montpellier and Milan. After three years working in galleries in London she participated in De Appel’s Curatorial Training Programme in Amsterdam. She was then appointed curator at Palais de Tokyo in Paris and, later, became Deputy Director of the Picasso museum in Antibes. She recently moved to Zurich where she now works as an independent curator and art critic. Her most recent projects include: Process, Maison Gregoire, Brussels; Dialogues, Centre regional d’art contemporain, Sète; Anna Adahl, Laetitia Benat, Philippe Terrier-Herman, Made in Paris, London; and Martin Boyce, Art:Concept, Paris.

Simonka de Jong

(Netherlands) is a freelance curator. Work experience (selection): curator Beelden op de Berg, Wageningen (2003) / general assistant IKT / project manager photography and education, Federatie Kunstuitleen, Den Haag / curator exhibition Wild Gliders, Aschenbach & Hofland Galleries, Amsterdam.

Boris Kremer

(Luxemburg) is a freelance curator/writer/translator. Work experience (selection): Künstlerhaus Bethaniën, co-ordinator International Studio Programme, Berlin / Perth Institute for Contemporary Arts, WA / Casino Luxembourg-Forum d’art contemporain, Luxembourg.

Montse Badia

(b. 1965, Spain) is an art historian, critic and curator. She has contributed to different publications, like Transversal, arts.zin, Untitled (London), NU: The Nordic Art Review (Stockholm), Tema Celeste (Milano), ARCO and Bonart. She has curated exhibitions at Apex Art (New York), Künstlerhaus Bethanien (Berlin), Joan Miró Foundation and “la Caixa” Foundation (Barcelona). She has been associated curator in Espai 13 of Joan Miró Foundation and Santa Monica Center for the Arts (Barcelona). Currently, she is co-director of A*DESK. Independent Institute of Criticism and Contemporary Art ( and artistic director of the contemporary art collection Cal Cego ( Badia is member of AICA (International Assotation of Art Critics) , ACCA (Associació Catalana de Crítics d’Art), IKT (International Curators Association) and IAC (Instituto de Arte Contemporáneo).

final outcome: Plan B


Lorenzo Benedetti

(b. 1972, Italy) is director of the Art Center De Vleeshal in Middelburg (The Netherlands). He has been director of the art centre Volume! in Rome (2002 – 2006), founder and curator of the Sound Art Museum, Rome (2004), curator at the Museum Marta Herford, in Herford, Germany (2006-2008). In 2009 and 2010 he was guest curator at La Kunsthalle in Mulhouse, (France). Benedetti studied Art history at the University “La Sapienza” of Rome and attended the “Curatorial Training Programme” at De Appel Foundation in Amsterdam. Since the late nineties he curates contemporary art exhibitions with a special focus on topics like urbanism and architecture (Sonicity Corviale in Rome and Urban Interferences in Bruxelles) aiming to merge different disciplines like art, music, architecture and theory together in order to understand the aesthetic, social and functional values of specific urban areas. With the founding of Sound Art Museum in 2005 he created a specific space dedicated to understand aspects of sound in the field of visual art. The Museum hosts sound exhibitions and has an archive with more than 400 sound pieces. A special attention to the public and the diffusion of contemporary art outside the art institutions has been developed through poster project (3500cm2) and art editions projects.

Anja Nathan-Dorn

(b. 1971) has been co-director of the Kölnischer Kunstverein since 2007, together with Kathrin Jentjens, participant of the CTP 2004/05. At the Kunstverein they realized exhibitions and projects with artists like Judith Hopf, Mark Leckey, Michael Krebber, Seth Price, Nora Schultz, Alexandra Bircken, Melanie Gilligan, Simon Denny, Kerstin Brätsch & Das Institut and many others. Before 2007 Anja Nathan-Dorn has been working as critic and curator. She has been writing for magazines such as Metropolis M, Frieze and Texte zur Kunst. She was a co-founder of the project-room April in Cologne, she has been working as gallery-director of Galerie Christian Nagel Cologne and she has realized several curatorial projects with artists and authors as Diedrich Diederichsen, De Rijke/de Rooij, Deimantas Narkevicius, Viola Klein, Stephan Geene and many others.

Machiko Harada

(Japan) is a curator for Akiyoshidai International Art Village Yamaguchi, Japan.

Rob Tufnell

(Scotland, UK) is the director of Rob Tufnell, a commercial gallery in central London. He is a trustee of the Elephant Trust and continues to write, teach and work as a freelance curator. In the past he was the Director of Exhibitions at Modern Art, London and also worked as a consultant to the Scottish Arts Council.

Suzanne van de Ven

(Netherlands) is a freelance curator and writer. Work experience (selection): Curator of Cargo Series, Loods 6, Amsterdam / BAK (Basis voor Actuele Kunst) / Trigger (pub.), Utrecht / Stedelijk Museum Bureau Amsterdam / University of Amsterdam / Sandberg Institute, Amsterdam / Articles for a.o. Metropolis M / Stedelijk Museum Bureau Amsterdam.

Final outcome: Anarchitecture


Tobias Berger

(b. 1969, Germany) studied art history and economics in Bochum. He worked for four years as curator at the Kunsthalle Fridericianum in Kassel and curated the 8th Baltic Triennial of International Art in Vilnius in 2002. From 2005 to 2008 Berger was the managing director and curator of the Para/Site Art Space in Hong Kong and he was the Chief Curator at the Nam June Paik Art Center in Korea from 2008 to 2010. Currently he is Managing Curator at M+, the new museum for Visual Culture in Hong Kong since December 2010.

Luca Cerizza

(Milan, 1969) is a freelance curator and writer, currently based in Berlin and Milan. He graduated from Univesità Statale of Milan in History of Art Criticism. He attended the De Appel CTP in 1997-98. So far he has focused his research on the latest generations of Italian artists and on the politics and poetics of space, through texts and shows that he curated in very different contexts and venues. He is author of several essays on Italian and international artists for art magazines, catalogues and monographs. He is a regular contributor to Tema Celeste.

Tanja Elstgeest

(Netherlands) is the head of visual arts at De VeenFabriek, Leiden. Work experience (selection): Assistant curator Witte de With, Rotterdam / General assistant IKT, Amsterdam / De Appel, Amsterdam / Montevideo TBA, Amsterdam.

Karen Jones

(USA) is assistant curator at the Institute of Contemporary Art, PA and critic for Time Out, New York. Work experience (selection): Ph.D. Candidate Dept. Art History and Archeology Columbia University / curator Apex Curatorial Program, New York.

Yukie Kamiya

(Japan) is Chief Curator at the Hiroshima City Museum of Contemporary Art. Formerly she was Associate Curator at the New Museum of Contemporary Art, New York. Kamiya has been working as independent curator and organised exhibitions such as Luminous Mischief (Yokohama Portside Gallery, 1999), Freeze: images of Japanese by Sharon Lockhart and Miwa Yanagi (Espaço Cultural Sergio Port, Rio de Janeiro, Brazil, 2000), Territory: Contemporary art from the Netherlands (Tokyo Opera City Art Gallery, Tokyo, Japan, 2000), Spacejack! (Yokohama Museum of Art, Art Gallery, Japan, 2001), Fantasia (Space ima, Seoul, Korea, 2001 /East Modern Art Center, Beijing, China, 2002), Under Construction: New Dimension of Asian Art (Japan Foundation Forum + Tokyo Opera City Art Gallery, Tokyo, Japan, 2002-2003). She has also contributed catalogues and magazines internationally including Dark Mirrors of Japan (De Appel, 2000), Curator’s egg (Shiseido, Japan, 2003), Art Asia Pacific, Japanese newspaper Asahi Shinbun and others.

Martijn Verhoeven

(Netherlands) is a freelance curator and writer. Work experience (selection): Centrum Beeldende Kunst, Dordrecht / SKOR, Amsterdam / TENT.CBK & MKGallery, Rotterdam / Slovak Union of the Arts, Bratislava / Royal Academy of Arts, The Hague.

Final outcome: Seamless


Phillip van den Bossche

(Brussels, 1969) is director of Mu.ZEE in Oostende. He studied at the University of Ghent, followed by the Curatorial Training Programme at De Appel in Amsterdam (1996-97). At De Appel, he organised film/video evenings, and oversaw production of several publications. From 1998 until 2001, he was director of Exedra, Centre for contemporary art, architecture and design in Hilversum (NL). He has coupled this from 2000 till end of 2001 with a visiting lectureship at the Academy of Art and Design in ’s Hertogenbosch, and was a member of the editorial team of Archis, magazine for architecture, city and visual culture. Since January 2002 he has worked as a curator at the Van Abbemuseum in Eindhoven and curated among others, exhibitions with Matthijs de Bruijne, Douglas Gordon, Joe Scanlan, Jennifer Tee, Erik Wesselo and the project No Ghost Just A Shell.

Claudine Hellweg

(The Netherlands) is also a curator and critic. Work experience (selection):artistic director of Kunst in Huis since 2013. Since 2006 curator at the Océ Art Foundation. Since 2011 coordinator at the Cera foundation’s programme Partners in Art (B). Past experience at W139 (public relations and general staff), Centraal Museum Utrecht (curator Panorama 2000, with others), Museum het Domein Sittard (curator, a.o. retrospective Ben D’Armagnac). Founding member of HTV de IJsberg. Texts written o.a. for Museumtijdschrift, Amsterdam / childrensbook on James Ensor, MuZee Oostende / photobook Schiphol Airport / Metropolis M, Utrecht / Rotterdamse Kunst Stichting, Rotterdam / SKOR, Amsterdam.

Rita Kersting

(Germany) is member of the board of directiors of the Stedelijk Museum Amsterdam. Work experience (selection): director of the Kunstverein für die Rheinlande und Westfalen in Düsseldorf, Museum Ludwig, Cologne, assistant curator / Haus Lange Haus Esters, Krefeld, assistant curator.

Raimundas Malasauskas

(Lithuania) is a curator and writer. He was a curator at the Contemporary Art Centre, Vilnius between 1995 and 2006. He works with The File Room and The So-Called Records; is guest advisor at Jan Van Eyck Academy, Maastricht; member of curatorial board of Museo de Arte, Sacramento; and researches issues of copyright, remixology and media. His recent projects include psychic interview with George Maciunas (1934-1978), Bi-Fi series of events (New York City), 24/7: Wilno – Nueva York (CAC Vilnius), and Elektrodienos: unidentified audio object (CAC Vilnius).

Cosima Rainer

(Austria) is a freelance curator. Work experience (selection): Depot, Vienna / Kulturamt, Kunstverein für die Rheinlande Westfalen, Düsseldorf / Kunst am Bau im Krankenhaus Meran, Meran / Transmitter Festival, Hohenems.

Paula Toppila

(Finland) is the Executive Director of IHME Contemporary Art Festival since its founding in 2007. She has Master of Arts degree in Art History and participated in the Curatorial Training programme of De Appel Foundation in 1996-97. She was the Curator of Frame Finnish Fund for Art Exchange 1998-2007 and is thus a curator of several Finnish and international exhibitions in Finland and abroad. She has also contributed to Siksi, Taide and Framework magazines. As the Executive Director of IHME Contemporary Art Festival she has produced large-scale art commissions in the public space in collaboration with Antony Gormley, Susan Philipsz, Superflex and Christian Boltanski. Along with the public project the festival consists out of the three -day-forum called IHME Days with lectures, discussions, screenings of artists´ films, art education and workshops.


Annie Fletcher

(Ireland) is currently Chief Curator at the Van Abbemuseum, Eindhoven, and tutor at de Appel, Amsterdam. Recent exhibitions include solo presentations and projects with Htio Steyerl, Jo Baer, Jutta Koether, Cerith Wynn Evans, Deimantas Narkevicius, Minerva Cuevas and the long term project, “Be(com)ing Dutch” with Charles Esche (2006–2009). She was co-founder and co-director of the rolling curatorial platform “If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution” with Frederique Bergholtz (2005–2010), and Co-Curator of Cork Caucus with Charles Esche and Art / not art (2005). As a writer she has contributed to various magazines including “Afterall” and “Metropolis M”, and is currently on the editorial board of “A Prior” magazine. She has worked on monographic exhibitions of David Maljkovic (2012) and Sheela Gowda (2013) for the Van Abbemuseum and has been appointed as the curator for the Eva International in May 2012.

Nina Folkersma

(Netherlands, 1969) is an independent curator, editor and advisor, based in Amsterdam. After graduating with honours in Art History from the University of Amsterdam, she completed the Curatorial Programme of de Appel in 1996. Since then she has worked both as an independent and employed curator in a number of different contexts. In 1997, she stayed in Johannesburg (South Africa) for 3 months where she served as an assistant to the Artistic Director Okwui Enwezor and his co-curators at the 2nd Johannesburg Biennale. Two years later, she coordinated a comprehensive seminar together with Okwui Enwezor for the National Museum of Ethnology in Leiden. In 2003, she initiated a new project space in Amsterdam, called Quarantine Series, a small-scale institution that presented a dynamic and internationally oriented programme of solo exhibitions, music performances, screenings and debates. In 2006, she moved to Ghent (Belgium) to work as guest curator for 3 years at the S.M.A.K., Stedelijk Museum voor Actuele Kunst. In 2010, she was appointed as the Artistic Director of the 3rd international Madness & Arts Festival, a multi-disciplinary festival about art and psychiatry that took place in Haarlem, The Netherlands. Folkersma also has a curriculum as an art critic and editor. she regularly contributes to Metropolis M – the leading Dutch magazine on contemporary art, of which she was also an editor for many years – and other art magazine and catalogues. At the moment Folkertsma is curator of De Grote Kunstshow (The Big Art Show), a unique show that uses the theatre to bring contemporary art to the limelight in a different and appealing way. I am also a member of the advice committee of the Kunst Noord/Zuidlijn in Amsterdam and the chair of the board of ArtTable Nederland.

Clive Kellner

(South Africa) is board member of Visual Arts Network of South Africa. He was director of the Johannesburg Art Gallery. He has curated several international exhibitions, including theFoto Biennale Rotterdam (2000); Five Continents and One City, Mexico (1999); and Videobrasil, Sao Paulo (2000). Conference papers include Transafrica, Brussels; Havana Bienal, Museum of Modern Art, Sao Paulo. Kellner was a member of the senior staff of the Johannesburg Biennale, assistant to Okwui Enwezor, and coordinator for Ubuntu 2000, initiated by the Rockefeller Foundation. He was founding director of Camouflage, a non-profit gallery and magazine in 1999. He was coordinator to the National Arts Council of South Africa and the British Council on Connecting Flights, New Cultures of the Diaspora.

Kay C. Pallister

(USA) is currently director of APT:London. She was co-curator of the Scottish pavilion at the Venice Biennale of 2003. Work experience (selection): Scottish Arts Council and Arts Council of Wales, Glasgow / Gagosian Gallery, New York. Exhibition Director at the Gagosian Gallery.

Adam Szymczyk

(b. 1970, Poland) is artistic director of Documenta (14) in 2017. He was the director and chief curator of Kunsthalle Basel between 2003 – 2014, where he organized exhibitions including Rosalind Nashashibi: Over In (2004); Tomma Abts (2005); Gustav Metzger: In Memoriam and Lee Lozano: Win First Don’t Last Win Last Don’t Care (both 2006); Micol Assaël: Chizhevsky Lessons (2007); Danh Vo: Where the Lions Are (2009); Moyra Davey: Speaker Receiver (2010) and group shows Report on Probability (2009), Strange Comfort (Afforded by the Profession) (with Salvatore Lacagnina, 2010) and How to Work/How to Work (More for) Less (2011). In 2008 he co-curated with Elena Filipovic the 5th Berlin Biennial for Contemporary Art under the title When Things Cast No Shadow. He is a Member of the Board of the Museum of Modern Art in Warsaw. In 2011, he received the Walter Hopps Award for Curatorial Achievement at the Menil Foundation in Houston.

Final outcome: Crap Shoot


Els van den Berg

(Netherlands) works as a chairperson for GOOV Muziektheater in Groningen.

Jan Florizoone

(Belgium) is a writer, editor and documentary filmmaker. Work experience (selection): documentary film maker Argos film, Brussels / articles for De Standaard, Brussels. Currently he is a teacher at the School of Arts KASK (Koninklijk Conservatorium) in Ghent.

Sjoukje van der Meulen

(Netherlands) received her PhD at Columbia University in 2009 after completing her dissertation “The Problem of Media in Contemporary Art Theory (1960-1990).” Currently, she is a lecturer at the Department of Media Studies: New Media & Digital Culture, Universiteit van Amsterdam.

Åsa Nacking

(Sweden) is deputy director of the Rooseum Center for Contemporary Art in Malmö. Work experience (selection): Rooseum, Malmö / Paletten Art Magazine, Gothenburg / Louisiana Museum of Modern Art, Humlebaek.

Pia Viewing

(Zimbabwe/France) is curator / researcher of exhibitions at Jeu de Paume, Paris. From 2007 until 2014 she was the director of Centre Régional de la Photographie Nord – Pas-de-Calais, Douchy-les-Mines. Other work experience (selection): La Criée, Centre d’art contemporain, Rennes / De Appel arts centre, Amsterdam / Centre International d´art et du paysage, Île de Vassivière.

Jan Winkelmann

(Germany) is founder and partner of EYEOUT, the mobile art guide. From 2004 to 2008 he was founder and owner of Galerie Jan Winkelmann in Berlin and from 1997 to 2003 he was senior curator at the Galerie für Zeitgenössische Kunst in Leipzig.

Final outcome: Shift