Michelle Kuo is the Marlene Hess Curator of Painting and Sculpture at the Museum of Modern Art, New York (MoMA).
Kuo received her BA from Stanford University, and her PhD in the history of art and architecture from Harvard University. Her dissertation focused on the post-war organisation Experiments in Art and Technology (EAT).
Kuo was the Editor in Chief of Artforum from 2010 to 2017 and is a widely published author and lecturer. She contributes to publications such as October and The Art Bulletin, and is a visiting critic at the Yale School of Art.
She curated the exhibition New Order: Art and Technology in the Twenty First Century, currently on view at MoMA.
Elvira Dyangani Ose is the Director of the Showroom, London, Lecturer in Visual Cultures at Goldsmiths, and a member of the Thought Council at the Fondazione Prada.
Dyangani Ose has served as Senior Curator at Creative Time (2017 - 2018), the Curator of the eighth edition of the Göteborg International Biennial for Contemporary art (GIBCA 2015) and Curator, International Art at the Tate Modern (2011 – 2014). She recently joined the Tate Modern’s Advisory Council.
Other prominent positions include serving as Curator at the Centro Atlántico de Arte Moderno and the Centro Andaluz de Arte Contemporáneo, as well as Artistic Director of Rencontres Picha, Lubumbashi Biennial (2013), and Guest Curator of the triennial SUD, Salon Urbain de Douala (2010).
Currently completing a PhD at Cornell University, Dyangani Ose holds a BA in art history from the from Universitat Autònoma de Barcelona, MA in the history of art and visual studies from Cornell University and a MAS in the theory and history of architecture from Universitat Politècnica de Catalunya, Barcelona. Dyangani Ose has published and lectured extensively on modern and contemporary African art and has contributed to art journals such as Nka and Atlántica.
Dyangani Ose has most recently curated Women on Aeroplanes at The Showroom, Basilea, a Creative Time project commissioned by Art Basel and Laura Lima’s Horse Takes King at the Fondazione Prada.
María Inés Rodríguez is the Editor of Tropical Papers and Curator at Large at MASP, São Paulo.
Rodríguez holds a BA in art from the Universidad de los Andes, Bogotá and a MA in art from the HEAD, Geneva. Her curatorial and institutional practice relate to the consolidation of the museum as a platform for knowledge through exhibition, cultural and educational programmes.
Rodríguez was the Director of CAPC Musée d’art Contemporain of Bordeaux (2014–2018) and has previously held the position of Chief Curator at MUAC, Mexico City, in addition to the position of Chief Curator at MUSAC -Museo de Arte Contemporáneo de Castilla y León, Spain and Guest Curator at Jeu de Paume, Paris.
Her curatorial practice includes major retrospectives and solo presentations of artists such as Beatriz González, Alejandro Jodorowsky, Danh Vo, Teresa Margolles and Yona Friedman, among others. Parallel to her curatorial work, Rodríguez has organised seminars and exhibitions around the world on the topics of printed matter and architecture, and in 2005, she formed Tropical Paper editions, which now exists as an active website dedicated to contemporary creation in the Tropics. As of 2017, she is President of the Comité Art Citoyen France, Fondation Carasso and Member of the Martell Foundation Board, France.
Paulina Rider Wilhelmsen is the founder of the non-profit venture Wilstar Social Impact and the Lise Wilhelmsen Art Award Programme.
Rider Wilhelmsen has spent her life between the USA, Chile and Norway, while currently residing in London. After moving to the UK, she studied contemporary art at Christie’s and eventually became a founding member of The Grove Trust in Notting Hill, London. Her strong social engagement has led to her involvement in several projects supporting the careers of young aspiring artists, and she sat on the board of the Royal Caribbean Arts Grant for five years.
In addition to her extensive business experience and social engagement, Rider Wilhelmsen has expertise in television production from her experience at the Norwegian national broadcaster, NRK.
Tone Hansen is the Director of the Henie Onstad Kunstsenter in Norway and Council Leader for The Arts Council of Norway (2016-2020).
Hansen was educated at the Academy of Fine Art in Oslo and subsequently held a research fellowship position (PhD) at the Oslo National Academy of the Arts. There she completed the thesis “Megamonstermuseum: How to Imagine a Museum Today”.
Hansen has previously worked as a freelance curator and writer, in addition to serving as Chairman of the Young Artists Society in Norway. Over her career, Hansen has worked with artists such as Hito Steyerl, Catherine Opie, Yayoi Kusama and Ane Hjort Guttu.
In her theoretical and curatorial work, Hansen has focused on the role of art museums and on how history is written and presented. A particular area of focus has been alternative forms of organising strategies, in addition to the function of governmental structures in determining museum work.
Caroline Ugelstad is the Chief Curator and Head of the Art Department at the Henie Onstad Kunstsenter in Norway.
Ugelstad is educated in the history of art and philosophy, having studied at the Courtauld Institute of Art in London and University of Oslo. Ugelstad holds a PhD in art history from the University of Oslo, and her special field of interest lies within the field of modernism and avant-garde studies, art historiography, and contemporary art.
Ugelstad has served as a member of both the Office for Contemporary Art Norway’s International Jury and the Statoil Art Award Jury. She is a member of the programme board for art history at the University of Oslo, and an editorial member of Kunst og Kultur.
Her curatorial practice includes presentations of artists such as Carsten Höller, Lene Berg and Irma Salo Jæger, and historical shows such as Fluxus East/Fluxus (2010) and Jean Tinguely – The future as we remember it (2009).