Director, Museum MACAN
Aaron Seeto is the Director of Museum of Modern and Contemporary Art in Nusantara (Museum MACAN). He has experience with working to advance the goals of contemporary arts organizations and curating significant exhibitions for artists from Asia to Pacific regions.
Seeto was formerly a Curatorial Manager of Asian and Pacific Art, at Queensland Art Gallery | Gallery of Modern Art in Brisbane, Australia where he led the curatorial team at the eighth Asia Pacific Triennial of Contemporary Art (APT8) in 2015. For eight years prior, he was the Director of Sydney’s 4A Centre for Contemporary Asian Art.
CCO Ars Electronica Linz (Chief Curatorial Officer) Managing Director of Ars Electronica Festival, Prix, and Exhibitions, Linz, Austria
Martin Honzik is an artist CCO of Ars Electronica Linz, and Managing Director of the Ars Electronica’s Festival, Prix and Export. He studied visual experimental design at Linz Art University (graduated in 2001) and completed the master’s program in culture & media management at the University of Linz and ICCM Salzburg (graduated in 2003). Besides being independent Artist in several art projects, he joined the staff of the Ars Electronica Future Lab as a researcher, in 2001, where, until 2005, his responsibilities included exhibition design, art in architecture, interface design, event design and project management. Since 2006, Martin Honzik has been Managing Director of the Ars Electronica Festival, the Prix Ars Electronica, the Exhibitions in the Ars Electronica Center and Ars Electronica Export. He has been curating a considerable amount of international Exhibitions in the context of Art, Science and Technology. Since 2021 he became CCO (Chief-Curatorial-Officer) of Ars Electronica Linz.
Curator, Executive Director of Eyebeam
Roderick Schrock is an arts organizer and curator. As a non-profit leader, he specializes in building institutional capacity and conceives and implements programs that elevate artists’ works in society. As the executive director of Eyebeam, he guides its focus to realign societal relationships with emergent technologies. Additionally, he is the host of Informer, a podcast featuring conversations with artists, technologists, and thinkers.
He has been an active practitioner in the arts, living and working in Japan and continuing studies in the Netherlands. He has written extensively for anthologies, periodicals, and other publications. As a digital and sound artist, Schrock has been commissioned by Meet the Composer, the American Music Center, The Netherlands America Foundation, and Ostrava New Music Days, among others. He received an MFA from Mills College in Oakland.
He currently teaches in the Curatorial Practice MA Program at the School of Visual Arts and has taught at the Studio for Electro-Instrumental Music (STEIM), California College of the Arts, and New York University’s Interactive Telecommunications Program. He sits on the Netherlands America Foundation Cultural Committee, and was a founding board member of Art+Feminism. He regularly juries and nominates for national and international art awards.
Senior Curator, International Art (Hyundai Tate Research Centre: Transnational), Tate Modern
Lee works on exhibitions, acquisitions and collection displays at Tate Modern as Senior Curator, International art, and heads a major research initiative Hyundai Tate Research Centre: Transnational. She curated Nam June Paik at Tate Modern in 2019 with Rudolf Frieling, which was on tour to institutions in Europe, USA, and Asia until early 2022. She has also curated several collection exhibitions and displays at Tate Modern, including A Year in Art: Australia 1992 (2021-23), CAMP: From Gulf to Gulf to Gulf (2019-20) and Xiao Lu and Niki de Saint Phalle (2018-19). Lee was previously Exhibitions & Displays Curator at Tate Liverpool and curated a number of exhibitions and collection displays including Doug Aitken: The Source and Thresholds (2012-13, as part of Liverpool Biennial).
Lee is the Artistic Director of the 14th Gwangju Biennale, which opens in April 2023. She also served as the Commissioner and Curator of the Korean Pavilion at the 56th Venice Biennale (2015). Lee has convened and participated in several international symposiums and conferences at the Tate and internationally, including From Alexandria to Tokyo: Art, Colonialism and Entangled Histories (Digital conference with Mori Art Museum, Tokyo, 2020), Axis of Solidarity: Landmarks, Platforms, Futures (Tate Modern, 2019), and Territories Disrupted: Asian Art after 1989 (National Museum of Modern and Contemporary Art Korea, 2017). She has also written and lectured widely on modern and contemporary art, and her publications include Nam June Paik (with Rudolf Frieling, exhibition catalogue, Tate Publishing, 2019) and MOON Kyungwon & JEON Joonho (exhibition catalogue, Korean Pavilion, Venice Biennale, 2015).
Curator/critic based in Tokyo.
President of AICA (International Association of Art Critics) Japan, Artistic Director of <Forest for Dialogue and Creativity>. Visiting professor at Tama Art University and Tokyo Zokei University, lecturer at Musashino Art University, Institute of Advanced Media Arts and Sciences (IAMAS) and the Postgraduate School of Kokugakuin University. Her activities traverse existing fields by focusing on <Information flows>.
In parallel, working as a curator of Cannon ARTLAB (1990-2001), Mori Art Museum (2002-2004), senior curator of NTT InterCommunication Center[ICC] (2004-2010), as an independent curator, realized many experimental exhibitions and projects. Recents works include SIAF 2014 (Associate Curator), KENPOKU ART 2016 (Curator). Works in 2020 including the Symposium of AICA Japan (Chairperson), MMFS 2020 (Director), <Forking PiraGene> (Co-curator, C-Lab Taipei). Works in 2021 including the Forum ‘Information as a form of
‘ (Kyoto Prefecture), ‘EIR’ (Energies in Rural) (Co-curator, Aomori Contemporary Art Centre + Liminaria, Italy, ongoing), ‘Forum Spirits as Energy｜Stone, Water, Forest and Human’ (General Incorporated Association Dialogue Place). Juror of many international competitions, many co-publications. Essay series ‘Ecosophic Future’ at HILLS LIFE. yukikoshikata.com
BI Xin (Milia) is a curator and researcher based in Shanghai.
She also serves as the Executive Director of Chronus Art Center, and leads the curatorial vision of public programs at CAC.
Xin’s curatorial practices focus on the intersection of arts and decentralised technologies. Her recent projects explores the entanglement of consensus mechanisms and its carbon footprint issue. Through writings, curating and collaborating, she is exploring an alternative prototype to re-consider the ethical relationship between technology development and environmental consumption and the infrastructures and future sustainable technologies in web 3.0.
Xin has long-standing interest in net art, virtual spaces and online culture. Her papers were selected for the 4th and 5th Annual Conference of Network Society and published in NETIZEN 21: Beyond Personal Account. She is the founder of MondayOFF惬意忙, a series of self-published art books which explore youth and hybrid culture/subculture in the digital age. In 2020, Xin initiated the column “unscented” on Art-Ba-Ba, discussing topics such as metafiction, electronic music, universal basic income, crypto-archaeology, code crime through essays and interviews.
Xin has a master degree of Curating from the Chelsea College of Art and Design, University of Arts London, UK and a bachelor’s degree of Art History from Central Academy of Fine Arts, China.
Xin is the winner of the Hyundai Blue Prize Art+Tech 2022.
Do Tuong Linh
Đỗ Tường Linh is a curator / art researcher in Hanoi, Vietnam. Đỗ holds a BA in Art History and theoretical criticism from Vietnam University of Fine Arts and a MA in Contemporary Art and Art Theory of Asia and Africa at SOAS (University of London), UK.
She has engaged in various art exhibitions and projects in Asia, Europe and beyond since 2005. She is a fellow researcher for Site and Space in Southeast Asia – a research project run by the Power Institute, University of Sydney, Australia funded by Getty Image Foundation, USA. In 2022, Đỗ is the one of curators from the artistic team of the 12th Berlin Biennale.
Iris Long (irislong.xyz) is an independent curator with a research focus on how art responds to computing. She was shortlisted for the first M21-IAAC Award (International Awards for Art Criticism). She has curated exhibitions around art and technology, such as <Lying Sophia and Mocking Alexa>(Hyundai Blue Prize), <Blue Cables in Venetian Watercourse> and so on.
She is on the art jury of ISEA 2019, and the art jury of SIGGRAPH ASIA 2020. In 2021, she initialized <Port: Under the Cloud>, long-term research and curatorial project on the infrastructures of science and technology in China.
Je Baak graduated from Seoul National University and Royal College of Art in UK. He has held solo exhibitions in London and Seoul and participated in several group exhibitions such as <New Visions New Voices>, <Samramansang> at MMCA Korea and <Korean Eye> at Saatchi Gallery, <the Future is Now!> exhibition at MAXXI Art Museum in Italy, <Media City Seoul 2016> at Seoul Museum of Art, <Lux> in 180 Strand London, <Seoulight> in DDP, Seoul and at Ars Electronica exhibition in Austria.
Baak has received several prominent recognitions. He was awarded the Grand Prize of Joongang Fine Arts Prize in 2010 and won the Grand Prix of VH AWARD in 2016 by Hyundai Motor Group. Baak’s works are in the collections held by MMCA, DDP, Kumho Museum, Museum of Art in Seoul National University and Joongang Ilbo and proceeding many projects with companies such as Hyundai Motor Company, LG and etc. He is currently educating art & technology and installation art as a professor of the department of sculpture, Seoul National University.
Joel Kwong, an international media art curator, writer, producer and educator based in Hong Kong. She is currently the Programme Director for Microwave Festival, and the founder of SIBYLS. Over 15 years of experience, her most recent involved projects includes Future Media Art Festival in Taiwan, Microwave Festival, <Fireflies: The Glowing Dots> online exhibition, Connecting the Dots Media Art Archaeology Online Project etc. She has also given talks and lectures at many festivals and institutions, including Ars Electronica in Linz, Transmediale in Berlin, ACT Festival in South Korea; the University of Electro-Communications in Tokyo etc.
Joselina Cruz is currently Director and Curator at the Museum of Contemporary Art and Design (MCAD), De La Salle-College of Saint Benilde, Manila. Cruz has worked as a curator for the Lopez Memorial Museum in Manila and the Singapore Art Museum.
She was a curator for the 2nd Singapore Biennale in 2008 and curated the Philippine Pavilion for the 57th Venice Biennale in 2017. She is a Fellow of the Nippon Foundation’s Asian Public Intellectuals, and the Asian Cultural Council. She studied art history at the University of the Philippines, and Curating Contemporary Art (MA, RCA) at the Royal College of Art, London. She writes essays, reviews, criticism and commentary on art and culture.
Manuporn Luengaram is a curator and researcher based in Bangkok, Thailand. She works primarily in the areas of art, digital media and social practice in the context of Thailand and Southeast Asia. She was also a former manager of Arts Network Asia (ANA), a regional arts network.
In 2018, she joined the Jim Thompson Art Center’s curatorial team, overseeing artists’ commissions and projects. In 2020, she was an assistant curator of the 2nd Bangkok Art Biennale. In 2021, she was Director of Projects at 100 Tonson Foundation in Bangkok where she curated a new two-part video installation by Apichatpong Weerasethakul.
In her art historical research, she is a co-editor of an anthology of Southeast Asian Contemporary Art, a Thai version, published by Thailand’s Ministry of Culture (2015); a research assistant for ‘Artist-to-Artist’: Independent Art Festivals in Chiang Mai, 1992-1998’, published by Afterall Books (2018). She has joined the editorial committee for ‘Writing the Modern in Southeast Asian Art’ publication, which will be published by National Gallery Singapore (2022).
As director of the ADM Gallery at the Nanyang Technological University, Michelle Ho launched a new curatorial vision connecting contemporary art and new media with the university’s research fields. With more than 15 years curatorial experience in Southeast Asian art, some of her exhibitions include Vertical Submarine and the Amusement of Knowledge and Illusion (2022), Reformations: Painting in post 2000 Singapore Art (2019) and Exceptions of Rule: Counterpoints to Truth (2018). Formerly a curator at the Singapore Art Museum, she led the acquisition strategies of its contemporary art collection from 2013 to 2015, and co-curated exhibitions with museums like Queensland Art Gallery, Museum of Contemporary Art Tokyo and Kunsthaus Zurich. She was co-curator of the 2013 Singapore Biennale, and was curator for the Singapore Pavilion at the 58th Venice Biennale in 2019.
Editor of a webzine and exhibition catalogues related contemporary arts, coordinator of exhibitions, talk events and workshops related to media art. In the early 1990s, participated in making the conceptual planning of NTT-InterCommunication Center [ICC], In the 2000s, has worked at the National Museum of Emerging Science and Innovation as a curatorial staff, Institute of Advanced Media Arts and Sciences (IAMAS) as a lecturer, Yamaguchi Center for Arts and Since as a production manager. Director of Media Design Research Inc. since 2015.
Ritika Biswas (b. 1995) grew up in Kolkata, India and holds a Liberal Arts degree from Yale-NUS College, Singapore, and an MPhil in Film and Screen Studies from the University of Cambridge. She was a curator and special projects producer at New Art Exchange, UK, and Artistic Director for the 2021 Sea Art Festival, Non-/Human Assemblages, for the Busan Biennale. Currently working on experimental virtual art platforms and decolonial digital strategies, her practice exists at the nexus of deep research, eco-critical play, collaborative kinships, and justice, particularly within the Global South.
Rizki Lazuardi (b. 1982) is an Indonesian artist and curator who works mainly with moving image and expanded cinema. He obtained his MA in film and media art at the Hochschule für bildende Künste Hamburg. Central to his practice is subjects related to institutionalized information. His works and programs have been presented in many festivals, exhibition, or institutions, among others IFFR Rotterdam, Jakarta Biennale, European Media Art Festival Osnabrück, Image Forum Tokyo, and Singapore Art Museum. In 2019, he was commissioned to conduct artistic research on the colonial-related film archives at the Netherlands Institute for Sound and Vision, Hilversum. Lazuardi is a program consultant for Arsenal Berlin at the Berlinale Forum.
Tan Hui Koon
Tan Hui Koon (a.k.a. Koon) Diploma in Visual and Digital Art from Limkokwing University, BA (Hon) in Fine Art from University Science Malaysia (USM) at 2007. Her curatorial involvement included community art project: Gerakan Seni (2015), National Collection: Mapping on Malaysia Modern Art History 1920-1970 permanent exhibition (2016), 101: Malaysian Women Artists’ Exhibition (2017), The First KL Biennale – KL Beloved (2017) and Minta Perhatian: Media Baru (2019). Artist’s solo exhibition: Chang Yoong Chia: Second Life (2018) and Arang: Ronnie Mohammad (2018). Curatorial team of Contemporary Forum (2017), Young Contemporary Award (2019) and and Ipoh International Art Festival (2019). Jury of UOB Painting of the Year 2020.
Artist / Curator, Currently working as the Director of Contemporary Art Platform at Taiwan Contemporary Culture Lab (C-LAB), and has been a slashie across artist / curation / teaching / administration / writing. He was the former director of Taipei Artist Village and Treasure Hill Artist Village, chairman of Taiwan Art Space Alliance (TASA), and a curator at Kuandu Museum of Fine Arts. Endeavoring to bridge art and social practices, He not only reflects on the social conditions of Asian countries with his unique artistic language, but also consider social and technological issues of the Anthropocene.