MoMAInternationalCuratorialInstituteforModernandContemporaryArt2016ParticipantBiographiesDIANACAMPBELLBETANCOURTArtisticDirector,SamdaniArtFoundation;andChiefCurator,DhakaArtSummit,Bangladesh

OverthepastfouryearsDianaCampbellBetancourthasdevelopedtheDhakaArtSummittobetheworld’sleadingresearchandexhibitionsplatformforartfrom South Asia, and developed a new philanthropic platform to shift thediscourse away from an Indo-centric one by bringing together artists,architects,curators,andwriters fromacrossSouthAsiaandthrougha largelycommission based model where new work and exhibitions are born inBangladesh. She has curated numerous solo projects with artists such asHaroonMirza, Simryn Gill, Tino Sehgal, Lynda Benglis, Shilpa Gupta, ShahziaSikander, NaeemMohaiemen, Runa Islam, Shumon Ahmed, Pawel Althamer,AsimWaqif, and RaqsMedia Collective as well as group exhibitions such asRewind(withAmaraAntilla,SabihAhmed,andBethCitron)andMiningWarmData, and initiated a free, alternative education program called SamdaniSeminarswhichbridgesthegapsincurriculumbetweenthevariousartschoolsinDhakawithinternationalguestfaculty.ShechairstheboardoftheMumbaiArt Room, has been a research fellow at the HenryMoore Institute and theFRAC Champagne-Ardenne, and has collaborated with sculpture parksincluding Yorkshire Sculpture Park, de Cordova, and Wanas Konst oncommissionsofIndiansculpture.Formerly based in Mumbai for six years, beyond furthering and facilitatinginter-regional SouthAsiadialog throughherexhibitionsandpublicprograms,Betancourt has a keen interest in inter-Asia dialogs and was a residentresearcherat theFukuokaAsianArt in2016andco-curatedtheMumbaiCityPavilion for the 9th Shanghai Biennial in 2012 and her studies at Princetonincludedaconcentration inChineseLanguageandCulture.Shehasconsultedthe NewMuseum andMCA Chicago andmany other leading institutions ontheir inclusionof SouthAsia in their exhibitionsprogramsandhaspresentedherresearchaspartofMoMA’sC-MAPinitiative.

PAULINABRAVODeputyDirectorforCuratorialAffairs,NationalMuseumofArt,Mexico

Asanarthistorianandcurator,PaulinaBravo’sareaofspecializationhasbeenmodern and contemporary art. Between 2007 and 2009, she collaborated atFundación/ColecciónJumex intheorganizationofexhibitionssuchasSchweizüberalles,(January-March2008),BraveNewWorlds,organizedbytheWalkerArt Center in Minneapolis (April-July 2008), An Unruly History of theReadymade (September 2008-March 2009), curated by Jessica Morgan, and“ThePracticeoftheEverydayLife"incollaborationwiththeMuseoNacionaldeArteinMexico(November2008-March2009).Adding10yearsofexperienceinthefieldofmuseums,shehasorganizedmorethan20exhibitions.Recently, she served as Deputy Director for the Art Platform of the secondedition of the Biennial of the Americas, 2013, in the city of Denver, beingresponsible for the executive and curatorial direction of the exhibits: DraftUrbanism,curatedbyCarsonChan,PaulAndersenandGasparLibedinsky,thatconsistedinfourlarge-scalearchitectureinstallationsaroundtheDowntownofthe city; 30 artworks commissioned to be displayed on billboards; and anexhibit entitled First Draft curated by Cortney Stell that showcased 23 localartists.Since 2014 she has beenworking at theMuseo Nacional de ArteMexico asChief Curator by serving as Deputy Director for Curatorial Affairs. She isresponsiblefordirectingthecuratorialteamofthemuseumontherenovationofthe32galleryroomsofthepermanentcollection,scheduletobefinalizedin2018.Inparallel,sheisinchargeofprogrammingandcuratingtemporaryandtraveling exhibitions, constantly building international collaborations withinstitutionssuchastheFinesArtsMuseumofLyoninFrance,theRMN-GrandPalais in Paris, MALBA in Argentina, the Tate, the Whitney Museum of Art,among others. Throughout her career she has written critical essays forexhibitioncataloguesandspecializedpublicationsinMexicoandabroad.

SEBASTIANCICHOCKIChiefCuratorandDeputyProgrammeDirector,TheMuseumofModernArt,Warsaw

Sebastian Cichockiis a curator, writer, and art critic. He is chief curator oftheMuseumofModernArtinWarsawandcuratoroftheSculptureParkintheWarsawdistrictofBródno.Intheyears2005to2008hewasprogramdirectorof theContemporary Art Centre in Bytom.Select exhibitionscuratedbySebastian Cichocki include the Polish pavilions atthe 52nd and 54th VeniceBiennales,withMonikaSosnowska (1:1) and YaelBartana (... and EuropewillBe Stunned) respectively, the latterproject co-curated with GalitEilat,MakingUse.LifeinPostartisticTimes,MuseumofModernArtinWarsaw(2016),Rainbow in the Dark. Part 2: On the Joy and TormentofFaith,Konstmuseum Malmö (2015),Rainbowin the Dark,SALT Galata,Istanbul (2014),Zofia Rydet, Record 1978-1990, Museum of Modern Art inWarsaw(2015),Procedures for the Head,Kunsthalle Bratislava, Slovakia(2015),New National Art, Museum ofModern Art inWarsaw (2012),EarlyYears, KW Institute for ContemporaryArt, Berlin (2010), Raqs MediaCollective,The Capital of Accumulation,Museum of Modern Art in Warsaw(2010),OskarHansen.Process and Art 1966-2005,Museum ofModern Art inSkopje, Macedonia. Sebastian Cichockihas managed theSculpture Park inBródno, a long-term public artprogramme initiated in 2009 with the artistPawełAlthamer (featuringprojects by Olafur Eliasson, Jens Haaning, MonikaSosnowska, RirkritTiravanija, Ai Weiwei and others). He has produced anumberofexperimentalexhibitionsintheformofbooks,aswellasresidencyprograms and staged lectures.Cichocki is an author and co-author ofseveralbooks on arte.g.A Cookbook forPolitical Imagination(2011), andTheFuture of Art Criticism as Pure Fiction(2011),Earth Works!(2014), and apopularchildrenbookoncontemporaryart“S.Z.T.U.K.A”(A.R.T.)

MICHELLEELLIGOTTChiefofArchives,TheMuseumofModernArt,NewYork

Michelle Elligott is Chief of Archives of The Museum of Modern Art. Ms.Elligott joined MoMA as a Mellon Fellow in 1995; she became Rona RoobSeniorMuseumArchivistin1999.ShereportstotheSeniorDeputyDirectorforCuratorial Affairs. Ms. Elligott co-directed the Museum's widely acclaimedExhibition History web archive project, co-edited the institution's first self-publishedhistory,ArtinOurTime:AChronicleofTheMuseumofModernArt(2004); co-curated the MoMA exhibition 1969 at P.S.1 Contemporary ArtCenter (now MoMA PS1); and was part of the curatorial team for AbstractExpressionist New York: The Big Picture in 2010. She routinely organizesarchivalexhibitions.PastexhibitionsincludethosedevotedtoJamesLeeByars,Dada, and the history of dance and theater at MoMA. With her "ModernArtifacts"column,sheisaregularcontributortotheartmagazineEsopus,andher book René d’Harnoncourt: The Art of Installation will be forthcoming in2017.Shehaspublishedwidely,includingthearticles"ModernWomen:ABriefHistory"and"Dada:AChronology,"forMoMA;and"Schémasdesoriginsetdel'évolutiondel'artmodern"fortheCentrePompidou.Shehastaughtseminarson art archives in Havana, Caracas, and Buenos Aires, and has lecturedextensively, including at the 2013 Venice Biennale, the Centre Pompidou,Taipei FineArtsMuseum, Taiwan, ContemporaryGreekArt Institute,Athens,Greece,andtheFrickCollection.In2005,shewasaFulbrightSeniorScholarinresidence at the Benaki Museum in Athens, Greece. She has been AdjunctAssistant Professor of Museum Studies at New York University. Ms. Elligottholds degrees in art history from Smith College and Hunter College, CityUniversityofNewYork,withadditionalcourseworkat theUniversitédeParisIV,Sorbonne,andtheAmericanSchoolofClassicalStudiesinAthens,Greece.

GRIDTHIYAGAWEEWONGArtisticDirector/Curator,JimThompsonArtCenter,Bangkok

Gridthiya Gaweewong co-founded Project 304, a non-site / non profit artorganizationbased inBangkok.She receivedherMAAA (ArtsAdministration),from the School of the Art Institute of Chicago, IL in 1996. Her curatorialprojects have addressed issues of social transformation confronting artistsfromThailandandbeyondsincetheColdWar. Gridthiyahascuratedvariousregional and international exhibitions including Hidden Agenda (1996),Alien(gener)ation(2000–2003 inBangkok,KhonkaenandChiangmai),UnderConstruction, Tokyo Opera City Gallery and Japan Foundation, Forum Japan(2003),BangkokExperimentalfilmfestival(1997-2002),TemporaryInsanitybyPinaree Sanpitak, Art Center, Jim Thompson Art Center, Bangkok Nothing, aretrospective by Rirkrit Tiravanija and Kamin Lertchaiprasert, ChiangmaiUniversityArtMuseum-+-negativeplusnegative,EarlLuGallery,Singapore,Bangkok – Bangkok, an exchange art exhibition between Bangkok and LaCapella, Barcelona and Die Markten, Brussels, as part of theKunstFestivalDesArts,Belgium.Sheco-curatedwithregionalcuratorsincludingwith an exhibition, “Politics of Fun”, an exhibition of artists from SoutheastAsia,withOngKengSenatHausDerKulterenderWelt (Houseof theWorldCultures),Berlin,andwithApichatpongWeerasethakul,areknowindependentfilmmaker,“BangkokDemocrazy”,the4thBangkokExperimentalFilmFestival,December 2005. Gridthiya co-curatedwithRirkrit Tiravanija on SaigonOpenCity,HoChiMinhCityin2006andwithDavidTehonUnrealAsia,OberhausenInternational Short FilmFestival (2010).Her recentproject, commissionedbyIndependent Curators International (ICI), New York, is a travel exhibition ofApichatpong Weerasetheakul's The Serenity of Madness, MAIIAMContemporaryArtMuseum,Chiangmai(2016).CurrentlyshelivesandworksasanartisticdirectoroftheJimThompsonArtCenter,Bangkok.

HUIHEManagerofMuseumProjects,PolyCultureGroup,Beijing

After receivingherBA inMuseumStudieswithdistinction,HuiHe joined thePolyArtMuseumin2001.TheMuseumisthefirstandonlyinstitutioninChinathat specializes in Chinese early bronze and Buddhist sculpture and wasestablished by a state-owned enterprise, the Poly Group. She began herprofessional careerat theMuseumasanAssistantCurator,helping the teamwith exhibition planning, collection study, and publication editing until beingpromotedtoSeniorCuratorin2007.AftercompletingherpostgraduatestudiesinHistoryofArtandArchaeologyatthe School of Oriental and African Studies (SOAS), University of London, shereturnedtoPolyArtGroupasManagerofMuseumDevelopment.She isnowleading a consulting team that focuses on several newly built museums inmajor cities across China, including Shenyang, Tianjin, Changsha, andShenzhen. As most of these museums are government funded, she isresponsible for creating the exhibition plans and operations management inpreparationofthesemuseums’openingin2-3years.Her interests and expertise span the iconography of patterns and motifs inearlybronzetothestudyoftheBuddhistbeliefsysteminChinesesocietyfromthe15thto18thcenturies.

HIMANSHUKADAMCurator,Dr.BhauDajiLadMuseum,Mumbai

Himanshu Kadam has a post-graduate degree in Archaeology & Art HistoryfromtheSchoolofArt&Archaeology,UniversityofDurham,theUK(2009)andan undergraduate degree in Heritage Management from the University ofMumbai,India(2007).Mr.Kadamhasbeenawardedanumberofscholarshipsandbursaries;theUniversityofDurhamin2007,DiversityFellowshipfromtheMuseums Association, the UK in 2009 (Norfolk Museums and ArchaeologyServices,Norwich,UK),MaharashtraGovernmentFellowshiptostudyabroad,Bonita Trust & British Council funding for training at the Victoria and AlbertMuseum (V&A), the UK in 2012 and International Visitor Programme, NRWKulturInternational,Germanyin2014.Mr.Kadamhasbeenworkingwith theDr.BhauDaji LadMuseumsince2010under various capacities. At present,Mr. Kadam is Curator andmanages theMuseum’s exhibition programming such as conceptualising, assisting,executing and liaising with national and international Museums/Institutions.These shows are presented in the Special Exhibition Gallery located in theMuseumbuildingandinvolveinterventionswiththeMuseum'sexistingdisplayof the permanent collection. Mr. Kadam is responsible for managing andmaintenance of the Museum’s permanent collection and overalladministration.He is currently researching early modern expressions by artists and theMuseum’scollectionofpotteryfromtheSirJ.J.SchoolofArt inMumbai.Thisresearchwill contribute to the ongoing research, documentation efforts andunderstandingof theMuseum’spermanentcollection.TheBombaySchoolofPaintingsoffervaluable insight into the J.J.School’s formativeperiodandthenascent origins of Indian modernism, complementing the Museum’spermanent collection of decorative objects and paintings also created bystudentsoftheJ.J.School.Mr. Kadam has assisted in planning and implementing digital outreachprogrammeat theMuseum.Under thisproject, anewMuseumwebsitewaslaunched in 2014. Additionally in 2015, he assisted Museum colleagues inlaunchingtheMuseumcollectionontheGoogleCulturalInstitute.Atpresent,he is working on interactive digital projects for the Museum’s permanentcollection.Since2012,Mr.Kadam is thesecretary to theMuseumTrustand liaiseswiththetrusteesforBoardandExecutiveCommitteemeetings.HeassiststheHon.Directorwithfundraisinginitiatives,planningbudgetsandfutureprojects.Mr.Kadam has helped the Hon. Director with the 'Museum Expansion Project'designedbyStevenHoll.ThenewMuseumwingaimstobecometheprimarycentreforthehistorical&contemporaryculturaldevelopmentofMumbai.

OLIVERKASEHeadofModernArt/ChiefCuratorofModernArt,PinakothekderModerne,Munich

OliverKaseisChiefCuratorofModernArtatthePinakothekderModerneandoversees the Max Beckmann Archive. Since 2012 he has curated numerousexhibitions on modern art, including: Licht-Bilder. Fritz Winter und dieabstrakte Fotografie (Light Pictures: FritzWinter and Abstract Photography),2012/13,ontheworkof thestudentof theBauhaus;FarbenmenschKirchner(Kirchner: Man of Colours), 2014, on the painterly technique of theExpressionist Ernst Ludwig Kirchner; andGegenKunst (Counter/Art),2015, onthe juxtapositionof “degenerateart”andNaziart. From2011 to2012OliverKasewasassistant-curatorforTheArtofEnlightenment,amajorinternationalexhibit coproduced by the Staatliche Museen zu Berlin, the StaatlicheKunstsammlungen Dresden, and the Bayerische StaatsgemäldesammlungenMunich, thatwenton showat theNationalMuseumofChina,Beijing.OliverKaseearnedhisPhDin2007fromtheUniversityofHeidelbergbeforeservingas curatorial assistant at the Bayerische Staatsgemäldesammlungen andBayerisches Nationalmuseum. He went on to become curator of the FritzWinterFoundationandtheTheoWormlandFoundation,whichholdimportantworksofSurrealistandmagic-realistart.OliverKaseistheauthorofnumerouspublications on the art of the 18th to 21st century and is a lecturer at theLudwig-Maximilians-Universität,Munich.

SARAHMEISTERCurator,DepartmentofPhotography,TheMuseumofModernArt,NewYork

Sarah Meister became a Curator at The Museum of Modern Art in 2009,having joined the Department of Photography in 1997. She is the leadinstructorfortheonlinecourseSeeingThroughPhotographsonCoursera,andco-director of the August Sander Project (with Noam Elcott). ForthcomingbooksincludeOneandOneIsFour:TheBauhausPhotocollagesofJosefAlbers(November 2016) and Arbus Friedlander Winogrand: New Documents, 1967(February2017).RecentprojectsincludeFromBauhaustoBuenosAires:GreteSternandHoracioCoppola (2015; co-curator),ModernPhotographs from theThomasWaltherCollection,1909–1949 (2014-15;co-curator),NicholasNixon:FortyYearsofTheBrownSisters (2014);WalkerEvansAmericanPhotographs,75thanniversary (2013-14),BillBrandt: ShadowandLight (2013)andEugèneAtget:“Documentspourartistes”(2012).MeistercontributestoandeditsavarietyofMuseumandexternalpublicationsincludingmost recentlyPhotographyatMoMA:1920 to1960, “JanGroover’sABCs of the 1970s” for Osmos magazine Issue 10, “Print and Presentation:Trends in Collecting and Displaying Photographs during John Szarkowski’sTenure at MoMA” for The Shape of Things: Photographs from Robert B.Menschel, her third collaboration with Maira Kalman and Daniel Handler,Weather, Weather, and “As Irmãs Brown/The Brown Sisters: Interview withNicholas Nixon” for ZUM magazine #10 (all 2016). She is a member of theMuseum’s C-MAP Latin America group, and has been responsible for theacquisition of work by Gertrudes Altschul, Geraldo de Barros, Iñaki Bonillas,HoracioCoppola,GasparGasparian,German Lorca, LilianaPorter,Miguel RioBranco, Regina Silveira, and others. She holds an AB in Art History fromPrinceton University, with honors, and is a recipient of the Lee TenenbaumAwardforoutstandingresearchandscholarship.

JAMESMURIUKIArtistandCurator,ARTLabAfrica,Nairobi

JamesMuriukiworksbothasan independentartist anda curator, livingandworkinginNairobi,Kenya.HeisadesigngraduateofUniversityofNairobianda Managing Information Systems graduate of Strathmore University. HeworkedforeightyearsstartingasadesignerandlaterthegallerymanagerandcuratoratRaMoMA,beforeventuringofftoprivatepracticein2011.His interest is thatof the transitional stateofdevelopingnations, specificallyinterested indifferentknowledgesystems(andthatofartandvisual imageryand photography) in those societies and how that can be incorporated into,recognizedandadoptedaspartofthesocialfabric.Hewasinvolvedintheproductionoftheartmagazine,Msanii,theartistbookLayers, and contributed to the UNESCO publication, Documenting LivingHeritage. Individually, he recently curated frontiers of the present: Exploringnewideas inphotography,Nairobi,Passing iton: InventoryingLivingHeritageinAfrica,WindhoekamongothersHehasco-curatedexhibitions, including InMemorium, Constructions, under the collective 3collect, which he was afoundingmember.

JEANNETTEPLAUTDirector,CONSTRUCTO,Santiago

JeannettePlaut isanarchitectfromUniversidaddeChileaswellasacurator,architectural critic and academician. She funded and is the Director ofCONSTRUCTO. She is the Director of YAP_CONSTRUCTO, Young ArchitectsProgramassociatedwiththeMuseumofModernArt(MoMA/NY)since2010.SheworksasacorrespondentforLatinAmericafornationalandinternationalmedia,magazinesandbooks(1998-today).She is theauthorofseveralbooksincluding:PULSO:NewArchitectureinChile,CEPAL,RafaelIglesia,LATAMandPULSO2:NewArchitectureinLatinAmerica,PULSO2:NewArchitectureinLatinAmerica, Active Patrimony: Architecture as an Added Value, she is about topublishPULSO:NewArt inLatinAmerica.Shehasbeenprofessorofresearchstudio at Universidad Católica de Chile and associated to the Faculty ofArchitectureandUrbanPlanningatUniversidaddeChiletodevelopabookandexhibition FAU: OBRA CONSTRUIDA (2017). She is the Chief Editor of TraceMagazine.Shewas the curator of the architecture exhibition at the Chilean Pavilion atExpoShanghai2010inChinaaswellastheDirectoroftheNationalExhibitionat the Chilean Architecture Biennial (2006), Director of the InternationalArchitects Encounter at theChileanArchitectureBiennial (2004),Coordinatorof the National Exhibition at the Chilean Architecture Biennial (2002) and ispart of the nominating panel of the RolexMentor & Protégés Arts Initiative(2014-2015), jury of the Ibero-American Architecture Biennial 2014 / BIAU(organized by the Spanish government) and nominator of the MCHAP andEmergeAmericasPrize.ShehaslecturedwidelyinEurope,SouthAmericaandAsia.Shehasbeenaconsultant for theSustainableDevelopmentandHumanSettlements Division of the United Nation’s Economic Commission for LatinAmerica and the Caribbean (CEPAL) since 2004. She was the curator of theexhibitionEXTRA-ORDINARY:NewPracticesinChileanArchitecture(CenterforArchitecture in New York, 2016) and isworking on an exhibition+publicationaboutmodernkitchen(August2017).

EMILIANOVALDÉSChiefCurator,MuseodeArteModerno,Medellín

EmilianoValdés is a curator, editor and cultural producerbased inMedellín,Colombiawherehe isChiefCuratorat theMuseumofModernArt (MAMM).Untilrecently,hewasAssociateCuratorforthe10thGwangjuBiennale(SouthKorea) and Co-Director of Proyectos Ultravioleta (Guatemala). Previously, hewas Curator/Director of Visual Arts at the Centro Cultural de España enGuatemala and Professor at the Francisco Marroquín University. In 2012,Valdés was the Colección Patricia Phelps de Cisneros Curatorial Fellow atdOCUMENTA(13) (Kassel), andhasworked for institutionssuchas theMuseoNacionalCentrodeArteReinaSofía, (Madrid), andcontemporaryMagazines,(London). He has been Co-Curator of the 8th Bienal de Artes VisualesNicaragüenses (Nicaragua); Curator of the 17th Bienal de Arte Paiz(Guatemala);Directoroftheseminar‘Hábitat:Artecontextoyanálisisurbano’(Managua)aswellasArtisticDirectorofFoto30,acontemporaryphotographyandimagefestivalinGuatemalaCity.HehaswrittenforArtNexus,ArtealDía,FlashArt,andTheexhibitionistamongstotherinternationalpublicationsaswellasfornumerousartistcatalogsandbooks.HeiscurrentlyworkingonasurveyofGuatemalancontemporaryart fortheMuseumofContemporaryArtSantaBarbaraaspartofGettyFoundation’sPacificStandardTime:LA/LA.

The2016MoMAInternationalCuratorialInstituteforModernandContemporaryArtismadepossiblebyTheInternationalCouncilofTheMuseumofModernArt.MajorsupportisprovidedbyAndrewGundlach,JerryI.SpeyerandKatherineG.Farley,AliceTisch,andtheTerraFoundationforAmericanArt.