curator of documenta 14, which will take place in Kassel and Athens in 2017.
Hendrik Folkerts is curator of documenta 14, which will take place in Kassel and Athens in 2017. He studied Art History at the University of Amsterdam, specializing in contemporary art and theory, feminist art history and performance practices.
From 2010 until 2015 he was Curator of Performance, Film & Discursive Programs at the Stedelijk Museum in Amsterdam. Folkerts curated the Public Program of The Temporary Stedelijk at the Stedelijk Museum, a special interim program that was presented from August 2010 until October 2011, as well as Temporary Stedelijk 3: Stedelijk @ (TS3) from October 2011 until September 2012. Developed in close collaboration with various partner institutions and executed at their locations throughout Amsterdam, the innovate program of TS3 featured performances, exhibitions, lectures and public interviews, symposia, film screenings, and concerts. Following the grand reopening of the Stedelijk Museum in September 2012, Folkerts continued the Performance, Film & Discursive Programs in the museum, working with such artists as Alexandra Bachzetsis, Pablo Bronstein, VALIE EXPORT, Dominique Gonzalez-Foerster, Sharon Hayes & Brooke O'Harra, Matthew Lutz-Kinoy, Ulrike Rosenbach, Emily Roysdon, Hito Steyerl and Wu Tsang.
Prior to his position at the Stedelijk Museum, Folkerts was co-ordinator of the Curatorial Program at De Appel arts centre in Amsterdam from 2009 until 2011.
He frequently publishes in journals and on platforms such as Artforum, The Exhibitionist, Metropolis M, The Journal for Art and Public Space, Afterall Online, and for exhibition catalogues. Folkerts is co-editor of Shadowfiles: Curatorial Education (Amsterdam: de Appel arts centre, 2013) (with Ann Demeester) and Facing Forward: Art & Theory from a Future Perspective (Amsterdam: AUP, 2015) (with Christoph Lindner and Margriet Schavemaker). He is one of the founding editors of the peer-reviewed journal Stedelijk Studies, and together with Sophie Berrebi edited the third issue of the journal on ‘Performance’ (Amsterdam: Stedelijk Museum, 2015).
Nathalie Boseul SHIN
chief curator of Total Museum of Contemporary Art, Seoul
Nathalie Boseul SHIN is chief curator of Total Museum of Contemporary Art, Seoul. She studied philosophy at Ewha Woman’s University and aesthetics at Hongik University (M.A). Currently, she is a Ph.D candidate in Hongik University. Since 1997, she started her curatorial career in Korea, engaging various exhibition planning and art projects. In 2000, she began as a curator with an expertise of media art after working for art center nabi. Further, she developed her experience at Seoul International Media Art Biennale 2004, leading exhibition team as manager. She has been working at Total Museum of Contemporary Art since 2007. She curated Muntadas: Asian Protocols, News after the News (Dan Perjovschi), Postcapical Archive: 1989-2001 (Daniel G. Andujar), Danish Video Art Exhibition Subtle Whispering, etc. Since 2010, she has been organizing various annual international projects such as Roadshow, Playground in island (Kota Kinabalu, Malaysia), the show must go on.
Pichaya Aime Suphavanij
Head of Exhibitions at BACC
Studied in museum planning and conceptual design in the US and Italy, her practice and working experience in the US from led to crossed discipline of works through planning and designing various types of museums from 1994-2004. Assuming position as a Head of Exhibitions at BACC since 2008 to present, her curation focuses on works in media and visual arts through multidisciplinary approach to present new territory of thinking. Her recent curated projects include Hear Here, sound installation exhibition, Bangkok (2012), Media Art Kitchen, Japan / Southeast Asia media art project (2013), Proximity, media and contemporary art, Poland (2014), Kuandu Biennale (2014), Taiwan. Drift, experimental sound project, Bangkok (2015), Urban Media: Live the City project, Bangkok (2015), Omnivoyeur, sound and visual exhibition and electrical walks of Christina Kubisch, Bangkok (2016). Recently, she has received the grant from Berliner Künstlerprogramm des DAAD (Curators-in-Berlin Program of the German Academic Exchange) to research on sound arts in connection with contemporary arts. Currently, she lives and works in Bangkok.
Curator at the Institute of Contemporary Arts Singapore, LASALLE College of the Arts, and the co-founder of the curatorial platform Lowave.
Silke Schmickl is a curator at the Institute of Contemporary Arts Singapore, LASALLE College of the Arts, and the co-founder of the curatorial platform Lowave. She studied Art History, French Literature and International Communications in Munich and Paris where she graduated from Panthéon-Sorbonne University. A specialist in contemporary photography and video art, she has been a researcher at the German Art History Center for 15 years and has published over 60 art DVDs for Lowave. She has initiated and directed various research projects dedicated to emerging art scenes including the Middle East, Africa, India, Turkey and Singapore. Since 2008, she has curated contemporary art exhibitions in partnerships with museums and biennials in Singapore, Paris, Guangzhou, Beirut and Düsseldorf. In parallel to her curatorial activities, Silke Schmickl occasionally teaches in universities and art schools and writes articles on cinema and contemporary art.
Vera Mey is currently an independent curator. She was part of the founding team of the NTU Centre for Contemporary Art Singapore led by Prof. Ute Meta Bauer, a contemporary art research centre of Nanyang Technological University (NTU) as Curator, Residencies. Since it’s 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 Assistant Director of AUT University’s ST PAUL St Gallery in Auckland, New Zealand from 2011 to 2014. Her last project there was co curated with Erin Gleeson from Sa Sa Bassac, Phnom Penh called FIELDS: an itinerant inquiry across the Kingdom of Cambodia (2013). The project involved a group of 17 artists, curators and researchers traveling across 20 days together, questioning the intersection between contemporaneity, archaeology, history, trauma and fields of mutual unknowing within the context of contemporary Cambodia. For 2013 she was curator in residence at Arts Initiative Tokyo, Japan as well as convener of the AUT University Master of Arts Management Curatorial Strategy program. Curatorial projects include: The Disappearance (2014), NTU CCA Singapore; Invisible Energy and In Spite of Ourselves: Approaching Documentary (2012) at ST PAUL St Gallery and The Dowse Art Museum, Wellington. She is co-founder of the scholarly journal SOUTHEAST OF NOW: Directions in Contemporary and Modern Art. In 2015-16 she joins Ambitious Alignments: New Histories of Southeast Asian Art, a research initiative of the Getty Foundation. She is currently on the curatorial team of SEA Project an exhibition due to open in July 2017 at the Mori Art Museum Japan and National Art Centre Tokyo. She will undertake a PhD at SOAS, University of London commencing in September 2016.
served as the founding director of the Kadist Art Foundation’s Asia Programs, Paris and San Francisco
Xiaoyu Weng served as the founding director of the Kadist Art Foundation’s Asia Programs, Paris and San Francisco. There, she launched the Kadist Curatorial Collaboration, which organizes exhibitions that stimulate cultural exchange, and she also oversaw artist residencies and the building of the contemporary Asian art collection. Previously, she worked as program director of the Asian Contemporary Art Consortium in San Francisco and as a curator at the Wattis Institute for Contemporary Arts at the California College of the Arts (CCA). Educated at the Central Academy of Fine Arts (CAFA) in Beijing and the CCA in San Francisco, she has organized exhibitions and public programs for venues including the Asian Art Museum of San Francisco; CAFA Art Museum, Beijing; Guangdong Times Museum, Guangzhou; Minsheng Art Museum, Shanghai; University of California, Berkeley Art Museum and Pacific Film Archive; Witte de With Center for Contemporary Art, Rotterdam; and Yerba Buena Center for the Arts, San Francisco. She is a contributing editor of Leap, a bilingual magazine dedicated to contemporary Chinese art. Her essay “Working with Archive” won the Artforum Critical Writing Award in 2011. Her writing also appears in prominent art periodicals, books, and exhibition catalogues, including those published for the 2012 Gwangju Biennial, 2012 Shenzhen Sculpture Biennial, and 2013 Auckland Triennial. Appointed the Robert H. N. Ho Family Foundation Associate Curator of Chinese Art in 2015, charged with implementing the project, Weng is based at the Guggenheim Museum, New York.