Ekaterina Andreeva (Andreyeva) (PhD) is a multidisciplinary researcher, curator, and cultural practitioner based in St. Petersburg, Russia. Specializing in cultural studies, art history, art theory, and philosophy, she is a senior research fellow at the contemporary art department of the State Russian Museum. She is the author of many publications, including several monographs on contemporary art such as Postmodernism: The Art of the Twentieth and Twenty-First Centuries (2007). She has curated over 100 exhibitions of Russian art in Russia and abroad. Since the mid-1990s, she has been a member of the International Association of Art Critics (AICA).
Foteini Aravani is a digital curator at The Museum of London. Having started the museum’s collection of video games in 2015, her research practice has currently focused on social media collecting. She has curated a range of exhibitions and displays at the museum, including ‘The City Is Ours: A Tale of Two Cities’ (2017) and ‘London Visions’ (2019). She previously worked at the National Museum of Contemporary Art in Athens; the British Library and Battersea Arts Centre, both in London. She is a member of the jury panel for the Lumen Prize, an international award for art created with technology.
Anton Belov is the director of Garage Museum of Contemporary Art (since 2010), where he has initiated a number of research and educational projects, including an academic partnership with the Higher School of Economics, Moscow. He is a graduate of the Institute of Steel and Alloys (National University of Science and Technology), Moscow. He led the non-profit project Gallery White, which provided help to young artists, before launching, in 2009, Artguide, a bilingual magazine and online platform informing the public about contemporary art. In 2012–2013, he was a member of the Public Council of the Russian Ministry of Culture. He makes regular appearances in the media, speaking on art and social issues.
Cüneyt Çakırlar (PhD) is a UK-based researcher working at Nottingham Trent University. His research focuses on transnational sexuality studies and global visual cultures. Following his UCL Mellon Postdoctoral Fellowship, with a project on cultural translation in contemporary arts (2008–2009), he has taught film and media studies and queer arts at various institutions, including University College London, Boğaziçi University, and Istanbul Bilgi University, Turkey. He co-edited a volume on cultures of sexual dissidence in Turkey (2012). As a scholar, critic, programmer, and curator, he has also worked with various art institutions in Turkey, the USA, the UK, and Germany, and authored exhibition catalogues for various artists.
Patrick D. Flores (PhD) is a professor of art studies at the University of the Philippines and a curator of the Jorge B. Vargas Museum in Manila. He was a visiting fellow at the National Gallery of Art in Washington, D.C. (1999), an Asian Public Intellectuals fellow (2004), a grantee of the Asian Cultural Council (2010), and a guest scholar of the Getty Research Institute in Los Angeles (2014). He co-curated the 8th Gwangju Biennale (2008), South Korea, the Philippine pavilion at the Venice Biennale (2015), and was the artistic director of the Singapore Biennale (2019). He has authored multiple publications, including Past Peripheral: Curation in Southeast Asia (2008).
Martin Grossmann (PhD) is a professor in the School of Communication and Arts at the University of São Paulo, Brazil. He is the co-founder and coordinator of Fórum Permanente, a critical platform that specializes in analyzing the relationship between contemporary art and culture and their spaces of social reception and interface such as museums, cultural centers, and artist-run centers. He was the deputy director of the Museum of Contemporary Art, University of São Paulo, from 1998 to 2002. He has curated many exhibitions including ‘Brazil in the Art Century’ (1999) and ‘Strategies for Entrancing’ (2002). He is the author of Museum as Interface (2011) and Transformational Curating (2013), among other publications.
Ranjit Hoskote is a cultural theorist, curator, and poet based in Mumbai, India. He is the author of over thirty books, including Vanishing Acts: New & Selected Poems 1985–2005 (2006), Central Time (2014), and Jonahwhale (2018). With Maria Hlavajova, he co-edited Future Publics (The Rest Can and Should Be Done by the People): A Critical Reader in Contemporary Art (2015). Hoskote was the curator of India’s first-ever national pavilion at the Venice Biennale (2011). He co-curated, with Okwui Enwezor and Hyunjin Kim, the 7th Gwangju Biennale (2008), South Korea. He is a member of the international advisory boards of the Haus der Kulturen der Welt, Berlin, and the Bergen Assembly, Norway.
Katya Inozemtseva (PhD) is a senior curator at Garage Museum of Contemporary Art, having previously worked at Gary Tatintsian Gallery, Proun Gallery, Multimedia Art Museum Moscow, and other Moscow-based institutions. Holding a PhD from Moscow State University (2004), she has lectured and written extensively on contemporary art and the avant-garde, including critical essays on art, the art market, and cultural institutions. She is a visiting associate professor at the Higher School of Economics, Moscow, and a professor at the Department of Art Management and Gallery Business at the RMA private educational center. She is a recipient of the Caryatid Prize (2013) for the best Russian contemporary art project carried out by a woman.
Serubiri Moses is a writer and curator based in New York. He is an adjunct assistant professor in the art department at Hunter College, NY, where he teaches contemporary African art history, and an associate researcher in African Art History and the Formation of a Modern Aesthetic, a long-term project initiated by the Bayreuth Academy of Advanced African Studies, Germany. He co-curated the biannual contemporary art festival KLA ART (2014) in Kampala, Uganda, was part of the curatorial team of the 10th Berlin Biennale of Contemporary Art (2017–2018), and is currently co-curating the 5th edition of ‘Greater New York‘, a survey of contemporary art at MoMA PS1. He has published extensively in academic journals, exhibition catalogues, and the media.
Serguei Alex Oushakine (PhD) is a professor of anthropology and Slavic languages and literatures at Princeton University. His work focuses on the practices of cultural production and consumption. In particular, he is interested in exploring cultural recycling and retrofitting, and has worked on aphasia, nostalgia, pastiches, reconstructions, and imitations in contemporary Russian culture. He has written or (co-)edited numerous works on the Russian radical modernism of the 1920s, masculinity, family, trauma, and postcolonial theories in the post-Soviet states, including The Patriotism of Despair: Nation, War, and Loss in Russia (2009) and the three-volume collection The Formal Method: Anthology of Russian Modernism (2016).
Aslıhan Şenel (PhD) is an Istanbul-based architect, researcher, and educator, working with multidisciplinary and collective methods. She is an associate professor at Istanbul Technical University (ITU), where she teaches architectural design. She studied architecture at ITU and completed her PhD at University College London, where she also taught from 2004 to 2008. She has published on critical mapping, performative theories, collective practices of design, and representational theories and practices. Her publications include Travelling through Guidebooks: Reading and Remembering Imagined Topographies of Nicosia (2018) and Mapping as Performing Place (2014).
Caroline Vercoe (PhD) is an associate professor in global art histories and Maori and Pacific art history and visual culture at the University of Auckland, Aotearoa New Zealand. She specializes in contemporary Pacific art and performance art, with a particular interest in the issues of race, gender, and representation. Her work has appeared in a number of academic journals, as well as in the edited volumes Pacific Art Niu Sila: The Pacific Dimension of Contemporary New Zealand Arts (2002), The Bodies That Were Not Ours and Other Writings (2001), Gauguin and Polynesia: An Elusive Paradise (2012), and others. She has recently published an online bibliography Contemporary Pacific Art (2018) for Oxford Bibliographies.
Galina Yankovskaya (PhD) is a researcher and museum practitioner based in Perm, Russia. She is a professor of history at Perm State University and the chair of the Interdisciplinary Historical Research Department, focusing on the social history of art, intersections of public history and contemporary art, museum studies, and the methodology of history writing. From 2009 to 2019, she headed the research department of the PERMM Museum of Contemporary Art. Since 1999 she has been a member of Perm Krai Museum’s academic council. Her publications include Art, Money, and Politics: The Soviet Artist in the Age of Late Stalinism (2007) and Perm Alive (2011), as well as numerous articles in academic journals and chapters in collected volumes.
We are continuing to recruit new members for the Advisory Board.