Assistant Professor Dr. Sirithorn Srichalakom Sirithorn is a choreographer, an instructor, and a curator at the Dance Department of the Faculty of Fine and Applied Arts, Chulalongkorn University, Bangkok, Thailand. She obtained her BFA, MA in dance and DFA from the Faculty of Fine and Applied Arts at Chulalongkorn University. She has worked closely with one of the most legendary performing artists in Southeast Asia, Patravadi Mejudhon, at Patravadi Theater in Bangkok. As a dancer, choreographer, production/video projection designer and production manager, she has contributed to the theater from 1998 until the theatre was finally closed in 2009. Sirithorn continued to work with Patravadi after the theatre was moved to Vic Hua Hin from 2010 -2019. During her time with the theatre, Sirithorn has taken part in many international collaborations, such as Realizing Rama, The ASEAN Flagship Voyage project and directing the Bangkok Fringe Festival from 2001-2005. Currently, she works as an assistant director of 18MONKEYS DANCE THEATRE. In 2020, Sirithorn began to curate several community art projects commissioned by Chulalongkorn University such as CHULA Art Town and CHULA Art Park aimed at empowering the community around the campus with local knowledge and understanding of art and innovation.

Prapon Kumjim is an Assistant Professor of Visual Arts at the Faculty of Fine and Applied Arts, Chulalongkorn University.
He was born in Thailand but raised around several parts of the world, this sensibility informs his practice. His Fine Art undergraduate degree was in painting and printmaking from London then to Glasgow School of Art, Scotland to complete an MFA degree in Multidisciplinary practice in 1997. He then relocated to Bangkok to discover the thriving potential of how contemporary art practice can intersect with art management and artist-run initiatives. Prapon exhibited his artworks in several international group shows. His paper presentations include events in Australia, Korea, Taiwan and Japan.
His contribution to Bangkok art scene includes committee at Project 304, an experimental art space and management position as head of Chulalongkorn University Art Center (2004-2017.)  Prapon received his Professional Doctorate DFA degree in Media Arts from RMIT University, Melbourne (2009.)

Jay Koh, DFA (Uniarts-Helsinki in trans-disciplinary artistic research), is a Southeast Asian artist- curator, educator and evaluator, focusing on public participative, socially-engaged art. He is an author of Art-Led Participative Processes – intra/intersubjective processes within the interactions of art-life-society — that focus on nurturing-relationships, reciprocal-knowledge, shared-ownerships and seeking affirmation across sectors and disciplines. He is co-director of iFIMA and was a lead curator for The Multi-Faceted Curator, working with emerging-curators from Asean+3 and the EU.

In 2017-19, he curated the international cross-disciplinary collaboration; Flowing on the Verge of Margins, in Thailand funded by the British Academy, and was an adviser and module supervisor with the Zurich University of the Art, Master of Advanced Studies, Arts & Society.

Recently, Jay was an external examiner/Prof. for the International Master Intercultural program, University System of Taiwan, and conducts dialogic sessions on Forging Resilience and Mutual Independence: Public Practices in the Everyday with organisations/practitioners across Asia and Europe. His text Unpacking the aesthetics of working in public spaces in Malaysia and Southeast Asia: Through the lens of Art–Led Participative Processes was published in Third Text, 2020.

Grace Samboh (b. Jakarta, 1984) is in search of what comprises a curatorial work within her surrounding scene. She jigs within the existing elements of the arts scene around her for she considers the claim that Indonesia is lacking art infrastructure especially the state-owned or state run as something outdated. She believes that curating is about understanding and making at the same time. She is attached to Hyphen — (since 2011), affiliated to RUBANAH Underground Hub (since 2019), and is currently undertaking a doctoral program at Arts and Society Studies, Sanata Dharma University, Yogyakarta.

Her recent curatorial endeavors are “As if there is no sun…” with Hyphen — in the 58th Carnegie International, Pittsburgh; “Jakarta Biennale 2021: ESOK”; “Collecting Entanglements and Embodied Histories” a joint venture between Galeri Nasional Indonesia, MAIIAM Contemporary Art Museum, Singapore Art Museum, Nationalgalerie – Staatliche Museen zu Berlin, and Goethe-Institut (2021-2022); and struggling to pursue a doctorate in the Arts and Society Studies, at the Sanata Dharma University, Yogyakarta.

Vipash Purichanont is a curator based in Bangkok. He is a lecturer at the department of Art History at the faculty of Archeology, Silpakorn University. His curatorial projects include ‘Kamin Lertchaiprasert: 31st Century Museum of Contemporary Spirit’ (Chicago, 2011), ‘Tawatchai Puntusawasdi: Superfold’ (Kuala Lumpur, 2019) and ‘Concept Context Contestation: Art and the Collective in Southeast Asia’ (Bangkok, Yogyakarta, Hanoi, Yangon, 2013-2019). He was an assistant curator for the first Thailand Biennale (Krabi, 2018), a curator of Singapore Biennale 2019 (Singapore, 2019), and a co-curator of the second Thailand Biennale (Korat, 2021). He is a co-founder of Waiting You Curator Lab. Purichanont was shortlisted for Independent Curator International’s Independent Vision Curatorial Award in 2018.

Jasmin Stephens is a Sydney-based independent curator and lecturer. Following senior roles with Artbank, the Museum of Contemporary Art Australia and Fremantle Arts Centre, Jasmin has pursued a context-responsive practice since 2011 – curating (selected) exhibitions with Perth Institute of Contemporary Art, UTS Gallery, Kuandu Biennale, Sherman Contemporary Art Foundation, Artspace, Deakin University Art Gallery, Contemporary Art Tasmania and The Cross Art Projects in Australia and Asia. Since 2016 Jasmin has taught curatorial studies and contemporary art in the Indo Pacific in the Master of Curating and Cultural Leadership at UNSW Sydney. Jasmin’s teaching and research is informed by residencies with Singapore Biennale and The Reading Room in Bangkok and her experience curating artists from Malaysia, Singapore and Thailand into exhibitions in Australia. Jasmin is currently writing a dissertation on transnational exhibition making. She also works with artists and curators as a researcher and a strategist.

Weiss has published extensively on contemporary art in journals, magazines and newspapers in the US, Europe, Latin America, Asia and Australia. Major publications include Now What? Art and the Quandaries of the Radical Past (Fordham University Press) Making Art Global: The Third Havana Biennial (Afterall Books), To and From Utopia in the New Cuban Art (University of Minnesota Press), Por América: la obra de Juan Francisco Elso (Universidad Nacional Autónoma de México, Instituto de Investigaciones Estéticas: co-author and editor) and On Art, Artists, Latin America and Other Utopias by Luis Camnitzer (University of Texas Press: editor).

Major curatorial projects include Global Conceptualism 1950s-1980s: Points of Origin (Queens Museum of Art, NYC: co-director with Luis Camnitzer and Jane Farver), Ante América (Biblioteca Luis Ángel Arango, Bogotá, and traveled in South, North and Central America: co-curator, with Gerardo Mosquera and Carolina Ponce de León), The Nearest Edge of the World: Art and Cuba Now (traveled throughout the US: co-curator with Gerardo Mosquera) and Imagining Antarctica (traveled throughout the US: funded by the National Science Foundation).

Gridthiya Gaweewong co-found Project 304, a Bangkok based independent art organization since 1996. Gridthiya has co-curated with regional curators on several occasions, including Under Construction, Tokyo Opera City Gallery and Japan Foundation; Forum Japan (2003); ‘Politics of Fun’, an exhibition of artists from Southeast Asia, with Ong Keng Sen at Haus Der Kulteren der Welt, Berlin (2005), with David Teh on Unreal Asia, Oberhausen International Short Film Festival (2010). She curated Apichatpong Weerasethakul’s The Serenity of Madness at MAIIAM Contemporary Art Museum, Chiangmai, which toured to Asia, Europe and USA (2016-2019) and served as curatorial team for Imagined Borders, the 12th Gwangju Biennale, Gwangju, South Korea (2018). Her current exhibition entitled Errata, Collecting Entanglements and Embodied Histories at MAIIAM Contemporary Art Museum, Chiangmai, initiated by the Goethe regional office in partnership with Singapore Art Museum, National Gallery, Jakarta, and Hamburger Bahnhof, Berlin (2021-2022). Gridthiya lives and works in Chiangmai and Bangkok, and is artistic director of the Jim Thompson Art Center.

Chung Shefong is a producer and curator who regularly organizes a number of music and film festivals in Taiwan.  She currently teaches at the College of Communication, National Chengchi University, Taiwan.

In 1993, she founded Trees Music and Art, an independent folk and grassroots music record label that has nurtured some of the most vital Taiwanese music artists of today. In 2001, she started the Migration Music Festival, a major platform in Taiwan for folk and global music that embraces artistic experimentation and social activism. The festival is also known for bringing attention to social and cultural issues both locally and globally.

As a filmmaker, Chung gained acclaim for her first documentary, “From Border to Border,” which traces the history of Chinese immigrants in India.  She has also initiated the annual documentary film events New Narratives Film Festival and One Film, One Journey.  Her current efforts include international projects that connect Southeast Asian musicians, artists, filmmakers and academics.

Professor Li-Hsin Kuo

Patrick Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He is the Director of the Philippine Contemporary Art Network. He was one of the curators of Under Construction: New Dimensions of Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). He convened in 2013 on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the conference “Histories of Art History in Southeast Asia” in Manila. He was a Guest Scholar of the Getty Research Institute in Los Angeles in 20Patrick Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He is the Director of the Philippine Contemporary Art Network. He was one of the curators of Under Construction: New Dimensions of Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Re14. He curated an exhibition of contemporary art from Southeast Asia and Southeast Europe titled South by Southeast and the Philippine Pavilion at the Venice Biennale in 2015. He was the Artistic Director of Singapore Biennale 2019.

Assistant Professor Dr. Kasem Phenpinant

Pornprapit Phoasavadi received a Bachelor of Fine and Applied Arts in Thai traditional music performance from Chulalongkorn University.  She was a Fulbright fellow pursuing her graduate studies at the University of Washington, Seattle and received her Ph.D. in ethnomusicology in 2005. Upon her graduation, she joined the Faculty of Fine and Applied Arts, Chulalongkorn University. Currently, she is an associate professor of Thai traditional music at Chulalongkorn University.  She co-authored From Bangkok and Beyond: Thai Children’s Songs, Games, and Customs (2003) with World Music Press.  In 2018, she published Music of Nan Province, an ethnography supported by Chulalongkorn University’s 100^th Anniversary Chulalongkorn Academic Fund.  Recently, her major interest has been focused on bridging the nuances and meanings of traditional performances with contemporary audiences.

Lee Weng-Choy is an art critic and consultant based in Kuala Lumpur. He is also the president of the Singapore Section of the International Association of Art Critics. Lee has worked with various arts organisations, including ILHAM Gallery and A+ Works of Art, both in KL, and the NTU Centre for Contemporary Art Singapore and National Gallery Singapore. He has taught at the School of the Art Institute of Chicago, the Chinese University of Hong Kong, and the Sotheby’s Institute of Art, Singapore. For nearly ten years, he was Artistic Co-Director of The Substation in Singapore. After living and working in the island-city-state for over twenty years, Lee was forced to leave his adopted home country. During the last five years, he has focused on facilitating writing workshops, which he’s done in cities from Brisbane to Hong Kong, London, Kuala Lumpur, Manila, Saigon and Singapore. Lee’s essays have appeared in journals such as Afterall, and anthologies such as Modern and Contemporary Southeast Asian Art, and Theory in Contemporary Art since 1985. He is very, very slowly working on a collection of his essays on artists, to be titled, The Address of Art and the Scale of Other Places.

Professor Thanes Wongyannava

Dr. Thanom Chapakdee

Dr. Klairung Amratisha

Simon Soon is a senior lecturer in art history at the Visual Arts Program, Faculty of Creative Arts, University of Malaya, Malaysia. He holds a PhD from the University of Sydney under an Australian Postgraduate Award fellowship, and wrote a dissertation on the spatial-visual practices of postwar left-leaning art movements in Singapore/Malaya, Indonesia, Thailand, the Philippines from the 1950s –1970s. His research focuses on 19th- and 20th-century art in Southeast Asia and Asian modernities. He is a member of the advisory board of Southeast of Now: Directions in Contemporary and Modern Art in Asia and a team member of the Malaysia Design Archive. In his spare time, he photographs roadside shrines and visits tiny temples. He also runs a personal homepage on his interests and research at bawahangin.cargo.site.He occasionally writes, makes art and curates exhibitions.

Seng Yu Jin

DIANA CAMPBELL BETANCOURT

Artistic Director, Samdani Art Foundation

Chief Curator, Dhaka Art Summit

Diana Campbell Betancourt is a Princeton educated American curator who has been working in South and Southeast Asia since 2010, primarily in India, Bangladesh, and the Philippines. She is committed to fostering a transnational art world, and her plural and long-range vision addresses the concerns of underrepresented regions and artists alongside the more established in manifold forums.

Since 2013, she has served as the Founding Artistic Director of Dhaka-based Samdani Art Foundation, Bangladesh and Chief Curator of the Dhaka Art Summit, leading the critically acclaimed 2014, 2016, 2018, and 2020 editions. Campbell Betancourt has developed the Dhaka Art Summit into a leading research and exhibitions platform for art from South Asia, bringing together artists, architects, curators, and writers from across South Asia through a largely commission based model where new work and exhibitions are born in Bangladesh, also adding a scholarly element to the platform with a think tank connecting modern art histories in and across Africa, South and Southeast Asia in collaboration with the Getty Foundation, Cornell University Center for Comparative Modernities, the Asia Art Archive, and the Samdani Art Foundation. In addition to her exhibitions making practice, Campbell Betancourt is responsible for developing the Samdani Art Foundation collection and drives its international collaborations ahead of opening the foundation’s permanent home, Srihatta, the Samdani Art Centre and Sculpture Park in Sylhet.

Concurrent to her work in Bangladesh from 2016-2018, Campbell Betancourt was also the Founding Artistic Director of Bellas Artes Projects in the Philippines, a non-profit international residency and exhibition programme with sites in Manila and Bataan, and curated Frieze Projects in London for the 2018 and 2019 editions of the fair. She chairs the board of the Mumbai Art Room and is an advisor to AFIELD, a global network of socially engaged artistic practices. Her writing has been published by Mousse, Frieze, Art in America, the Museum of Modern Art (MoMA) among others.

Professor Dr. Shin Nakagawa

May Adadol Ingawanij // เม อาดาดล อิงคะวณิช is a writer, curator, and teacher. She works on de-westernised and decentred histories and genealogies of cinematic arts; avant-garde legacies in Southeast Asia; forms of potentiality and future-making in contemporary artistic and curatorial practices; aesthetics and circulation of artists’ moving image, art and independent films in, around, and related to Southeast Asia. She is Professor of Cinematic Arts at the University of Westminster where she co-directs the Centre for Research and Education in Arts and Media. She features in ArtReview’s 2021 Power 100.

Diana Campbell Betancourt is a curator committed to fostering a transnational art world. Her equitable vision addresses the local and global concerns of underrepresented regions and artists alongside the more established in manifold forums.

As the Founding Artistic Director of the Samdani Art Foundation and Chief Curator of the Dhaka Art Summit since 2013, Campbell Betancourt has developed DAS into the foremost research and exhibition platform for art in South Asia. The DAS’ exhibition, education and public programming makes it possible for over 300,000 local visitors, together with artists, architects, curators, and scholars from everywhere, to encounter art from South Asia alongside internationally recognized works that resonate with concerns in South Asia. By curating and supporting South Asia sensitive exhibitions, by commissioning new works from artists that highlight historical, geological and unexpected interconnections with the region, and by enabling cross-cultural, academically-grounded conversations through organized forums at and outside of DAS, Campbell Betancourt is laying the groundwork for valuable cross-cultural dialog, growing solidarity across the Global South, and the necessary rewriting of art history for our collective future.

An artist-centered curator, bearing in mind the 2021 opening of the foundation’s permanent home, Srihatta, the Samdani Art Centre and Sculpture Park, Campbell Betancourt has been developing artist links/collaborations for long-term projects with the foundation working with artists such as Adrián Villar Rojas, SUPERFLEX, Monica Sosnowska, Haroon Mirza, Asim Waqif, Ayesha Sultana, Pawel Althamer, and Rana Begum to develop meaningful new commissions tied to the Sylheti landscape. Concurrent to her work in Bangladesh, Campbell Betancourt was the Founding Artistic Director of Bellas Artes Projects in the Philippines (2016-18), a non-profit international residency and exhibition program with sites in Manila and Bataan. Projects she organized with artists she invited extend through late 2019, and she realized numerous solo exhibitions that debuted new work with artists such as Lucy Raven, Paul Pfeiffer, Isabel and Alfredo Aquilizan, Cian Dayrit, and Carlos Amorales.

Campbell Betancourt was appointed to curate Frieze Projects in London for its 2018 and 2019 iterations, putting to use her experience from DAS at organizing temporary events as well as curating simultaneously for both art world insiders and the general public primarily through performance.  She chairs the board of the Mumbai Art Room, and has advised institutions around the world from the New Museum, the Museum of Modern Art, MCA Chicago, QAGOMA and the 9^th Asia Pacific Triennial, FRONT Triennial, Carnegie International, and the Metropolitan Museum of art on their work with South Asian modern and contemporary artists.

In addition to the DAS catalogs, her writing has been published in journals, monographs, commercial gallery publications, and by forums offered by Mousse, Frieze, Art in America, and the Museum of Modern Art (MoMA) among others. Teaching is an important part of her practice via the Samdani Seminar program in Bangladesh as well as running curatorial workshops at the Salzburg Summer Academy, at UNSW in Sydney, and RAW Material Company in Dakar, Sengal. In this spirit, she added an academic element to DAS by launching an Art History program in collaboration with the Getty Foundation’s Connecting Art Histories program, securing a major grant for the initiative supporting DAS, Cornell University’s Institute for Comparative Modernities, and the Asia Art Archive’s work.

Educated at Princeton University, Campbell Betancourt has been working in South and Southeast Asia since 2010. She speaks Spanish and Chinese and some Portuguese and is in the process of learning Bengali. She currently lives in Brussels and Dhaka. Campbell Betancourt’s maternal family is of Chamoru origin and she is committed to supporting artists curators and writers of indigenous origin in all of her exhibition platforms, as evidenced in her work at Bellas Artes Projects and Dhaka Art Summit.

Professor Dr. Apinan Poshyananda was born in 1956. He received his Bachelor and Master Degree in Fine Arts from Edinburgh University and Ph.D. in History of Art from Cornell University. As an arKst, he won 3 medals at the NaKonal ExhibiKon of Art, Thailand. He became professor at the Faculty of Fine and Applied Arts, Chulalongkorn University, Thailand. Poshyananda served as Director-General, Office of Contemporary Art and Culture, Director- General of Cultural PromoKon Department, and the Permanent Secretary and AcKng Minister, Ministry of Culture, Thailand, where he commissioned the Thai Pavilion at the 50th, 51st and 52nd Venice Biennale in 2003, 2005, 2007. He has curated and directed internaKonal art exhibiKons in Asia, Europe, USA and Oceania including The 1st and 2nd Asia-Pacific Triennial (1993 and 1996, Australia), Contemporary Art in Asia: Tradi2ons/Tensions (1996-1998, The Asia Society Galleries, Queens Museum, New York, Vancouver Art Gallery, Western Australia Art Gallery, Perth, Taiwan Museum of Fine Art); Asian SecKon, Sao Paolo Biennial (1998); Temple of the Mind: Mon2en Boonma (2001-2003, The Asia Society Galleries, New York, Asian Art Museum, San Francisco, The NaKonal Art Gallery, Canberra); Traces of Siamese Smile: Art + Faith + Poli2c + Love (2008, the inaugural exhibiKon of the Bangkok Art and Culture Centre (BACC)); Thai Transience (2013, Singapore Art Museum); Thailand Eye (2015, Saatchi Gallery, London and BACC); Chief ExecuKve and ArKsKc Director, 1st, 2nd, 3rd Bangkok Art Biennale (2018, 2020, 2022). Poshyananda is the author of several books on Thai and Asian art including Modern Art in Thailand in the 19th and 20th Centuries (1992); Western-style Pain2ng and Sculpture in the Royal Thai Court (1993, 2 volumes), among others. He is a commiaee member of the Asian Art Council, the Solomon R. Guggenheim Museum, New York; Research commiaee of the NaKonal Gallery Singapore; and Advisor to the President and CEO, Thai Beverage Plc. He was conferred Knight Grand Cordon (Special Class) of the Most Exalted Order of the White Elephant, Thailand; Knight First Class of Royal Order of the Polar Star, Sweden; Knight, Order of the Star of Italian Solidarity, Italy and Officer of the French Arts and Leaers Order, France.

Zoe Butt is a curator and writer. Her practice centres on building critically thinking and historically conscious artistic communities, fostering dialogue among cultures of the globalizing souths. Zoe was Artistic Director of the Factory Contemporary Arts Centre, Ho Chi Minh City (2009-2021), Executive Director and Curator, Sàn Art, Ho Chi Minh City (2009–2016); Director, International Programs, Long March Project, Beijing (2007–2009); and Assistant Curator, Contemporary Asian Art, Queensland Art Gallery, Brisbane (2001–2007) – this latter post particularly focused on the development of its Asia-Pacific Triennial of Contemporary Art. She has been published by Hatje Cantz; JRP-Ringier; Routledge; Sternberg Press, among others. Notable endeavours include Pollination (2018-); Sharjah Biennial 14: Leaving the Echo Chamber – Journey Beyond the Arrow,(2019); Conscious Realities (2013-2016); Embedded South(s) (2016) and San Art Laboratory (2012-2015). Zoe is a MoMA International Curatorial Fellow; a member of the Asia Society’s ‘Asia 21’ initiative; and member of the Asian Art Council, Solomon R. Guggenheim Museum. Zoe is currently a PhD candidate with CREAM, University of Westminster, London, UK. She lives and works in Chiang Mai (Thailand) and Ho Chi Minh City (Vietnam).

After completed BA in Media Arts from Royal Holloway, University of London (2010) and received her MLitt in Modern and Contemporary Art focusing on curatorial practice from Christie’s Education, University of Glasgow (2011), Haisang started her career in an art field as a research assistant on abstract paintings for her father, Assoc. Professor Kade Javanalikhikara whom she has been a representative ever since. In 2012, she started working at Bangkok Art and Culture Centre as a full-time staff and a freelancer until 2018.
Haisang graduated Doctor of Fine Art from Faculty of Fine and Applied Art, Chulalongkorn University in year 2018, in which from May 2019, she has been a full-time lecturer there as well as a director of the faculty’s gallery and creative space called Art4C. In addition, Haisang is a founder and editor-in-chief of a multimedia e-magazine called Teleaesthetics (teleaesthetics.net) which was a part of her doctorate thesis. Occasionally, she takes part as project-based art and cultural curator.

Kamol Phaosavasdi is renowned as one of the forerunners of Thai conceptual, installation and video art. He has participated in exhibition held worldwide such as those in Asia, Australia, Europe and USA. In 2003 he participated in the 50^th
Venice Biennale, Italy. His work are often found situational and site-specific as he believes that viewers’ interaction and participation are essential. Kamol completed his MFA from Otis/Parsons Art Institute, Los Angeles, USA. He then returned to Thailand and is currently working in Bangkok. He is currently working in Bangkok. He is currently a full-time professor at Faculty of Fine And Applied Arts, Chulalongkorn University.

Kamol Phaosavasdi is renowned as one of the forerunners of Thai conceptual, installation and video art. He has participated in exhibition held worldwide such as those in Asia, Australia, Europe and USA. In 2003 he participated in the 50^th Venice Biennale, Italy. His work are often found situational and site-specific as he believes that viewers’ interaction and participation are essential. Kamol completed his MFA from Otis/Parsons Art Institute, Los Angeles, USA. He then returned to Thailand and is currently working in Bangkok. He is currently working in Bangkok. He is currently a full-time professor at Faculty of Fine And Applied Arts, Chulalongkorn University

John Cruthers is one of Australia’s most respected art advisers and private curators, chair of Sheila: A Foundation for Women in Visual Art and since 2019 director of 16albermarle Project Space in Sydney. Working from 1974 with his mother Lady Shei­la Cruthers, he assembled the Cruthers Collection of Women’s Art. It was gifted to the University of Western Australia in 2007 and is Australia’s largest stand-alone collection of women’s art. In 1985 he began working professionally with Australian private collectors, including Rupert Murdoch and TV producers Reg and Joy Grundy. His enthusiasm for southeast Asian art was kindled in 2013. He’s travelled widely in the region learning about its art and artists and visiting art fairs and biennales, public and private museums, private collectors, commercial galleries, artspaces, collectives and many artists’ studios. In 2019 he presented Termasuk: Contemporary art from Indonesia, at the Darren Knight Gallery, Sydney. He opened 16albermarleProject Space to share his passion for southeast Asian art with Australian audiences.

Born in Buenos Aires, Argentina, the Thai artist Rirkrit Tiravanija is widely recognized as one of the most influential artists of his generation.  His work defies media-based description, as his practice combines traditional object making, public and private performances, teaching, and other forms of public service and social action.  Winner of the 2005 Hugo Boss Prize awarded by the Guggenheim Museum, Tiravanija was also awarded the Benesse by the Naoshima Contemporary Art Museum in Japan and the Smithsonian American Art Museum’s Lucelia Artist Award.

He has had exhibitions at  the Museum of Modern Art in New York, the Guggenheim Museum of New York, the Reina Sofia museum in Madrid, Los Angeles County Museum of Art, Hirschhorn Smithsonian, Glenstone Museum,  Luma Foundation in Arles and at the Museum Boijmans Van Beuningen in Rotterdam that then was presented in Paris and London.  Tiravanija is on the faculty of the School of the Arts at Columbia University, and is a founding member and curator of Utopia Station, a collective project of artists, art historians, and curators.  Tiravanija is also President of an educational-ecological project known as The Land Foundation, located in Chiang Mai, Thailand, where he maintains his primary residence and studio.