María Inés Plaza Lazo (*1989 in Ecuador) understands curating as informal research, class struggle and institutional critique. She practices her anti-academic stance as a guest lecturer at universities and colleges and as editor of the multilingual street newspaper "Arts of the Working Class".

Luca Lo Pinto is the artistic director of MACRO – Museum of Contemporary Art of Rome. From 2014 until 2019 he worked as curator of Kunsthalle Wien. He is the co-founder of the magazine and publishing house NERO. He produced a range of solo exhibitions with artists including Emilio Prini, Simone Forti, Nathalie du Pasquier, Jason Dodge, Tony Cokes, Friedl Kubelka, Cinzia Ruggeri, Camille Henrot, Olaf Nicolai, Pierre Bismuth, Babette Mangolte, Lawrence Weiner, Gelatin & Liam Gillick, Charlemagne Palestine, Lisa Ponti, Darren Bader as well as publications with Mario Garcia Torres and Mario Diacono. In 2012 he edited the book 'Documenta 1955-2012. The endless story of two lovers'. Furthermore, he has been a contributor to numerous exhibition catalogues and magazines (Flash Art, Kaleidoscope, Mousse, Purple, Spike, Rolling Stone).

Madeleine Planeix-Crocker is Associate Curator at Lafayette Anticipations. Madeleine is also co-director of the "Troubles, Alliances et Esthétiques" Chair at the Beaux-Arts de Paris and a permanent member of the Scientific Research Council of the ESAD, Reims. A graduate of Princeton University in cultural studies, Madeleine earned a Master's degree in Media, Art and Creation from HEC Paris and a Master's degree from the École des Hautes Études en Sciences Sociales (EHESS). There she led an arts-based research-action project with Women Safe non-profit, where she now facilitates a theater and creative writing workshop. Madeleine is currently a PhD candidate at the EHESS (CRAL), studying practices for commoning in contemporary performance. She has been practicing dance and theater since childhood.

Tevž Logar (1979) works as an independent curator, editor and author who collaborated with various institutions, galleries, and collections, such as: Muzeum Sztuki, Łódź; The Fondazione Sandretto Re Rebaudengo, Turin; Kunsthalle Praha; TBA21, Vienna; the Venice Biennial and many others. He lives in Rijeka, Croatia.

Krist Gruijthuijsen Curator and art critic Krist Gruijthuijsen has been the director of KW Institute for Contemporary Art since July 1, 2016. He has curated exhibitions by Hanne Lippard, Ian Wilson, Adam Pendleton, Ronald Jones, Hiwa K, Willem de Rooij, Beatriz González, David Wojnarowicz, Hreinn Friðfinnsson, Hassan Sharif, Leonilson, and Peter Friedl, Michel Majerus, Martin Wong, and Enrico David among others, and has edited numerous publications. Krist Gruijthuijsen is internationally well-connected and has many years of experience as curator and director of leading international institutions for contemporary art. Gruijthuijsen was artistic director of the Grazer Kunstverein from 2012 until 2016 and held the position of course director of the MA Fine Arts Department at the Sandberg Instituut in Amsterdam from 2011 until 2016. He is one of the co-founding directors of the Kunstverein in Amsterdam and has organized many exhibitions and projects over the past 15 years, including Stedelijk Museum (Amsterdam), Van Abbemuseum (Eindhoven, NL), Arnolfini (Bristol, GB), Project Arts Centre (Dublin), Utah Museum of Contemporary Art (Salt Lake City, US), Institute of Modern Art (Brisbane, AU), Baltic Centre for Contemporary Art (Gateshead, GB), Morris and Helen Belkin Art Gallery (Vancouver, CA), with MoMA PS1 (New York), CAPC musée d’art contemporain de Bordeaux (FR), Museo Nacional Centro de Arte Reina Sofía (Madrid), Centre d’Art Contemporain Genève (CH), Sharjah Art Foundation, Malmö Konsthall (SE) , and Museu de Arte Contemporânea de Serralves (Porto, PT). Gruijthuijsen’s appointment was part of a structural repositioning of KW Institute for Contemporary Art. Based on an amendment to the statutes, KW will be represented by Krist Gruijthuijsen as director; Gabriele Horn, former director of KW and the Berlin Biennale, will serve as director of the Berlin Biennale for Contemporary Art in the future. Foto_Credit: Krist Gruijthuijsen, KW Institute for Contemporary Art, Berlin 2020, Foto: Frank Sperling

Marika Kuźmicz, PhD, is an art historian, curator and researcher. 

She is a dean of the Faculty of Artistic Research and Curatorial Studies at the Academy of Fine Arts in Warsaw. She is also a lecturer at Collegium Civitas in Warsaw. For many years she has conducted research on Polish art of the 1970s, particularly advocating for performance, photography and video art. 

In 2010 she established the non-profit organization Arton Foundation in Warsaw. Arton is devoted to developing archives and estates of women artists. 

Marika is the author or editor of many books, such as The Workshop of the Film Form (2016, co- edited with Łukasz Ronduda, published by Sternberg Press) and many monographs on Polish artists. 

She has curated many exhibitions in Poland and abroad, most recently Her Own Way: Female Artists and the Moving Image in Art in Poland (Tokyo Photographic Art Museum) and the monographic exhibition on Barbara Kozłowska You Can See It All Anywhere (2020, Museum of Contemporary Art, Wrocław) and Jerzy Rosłowicz. Alchemic (2022, Muzeum of Contemporary Art., Wrocław). 

Marika was the main coordinator of the international art project “Forgotten Heritage: European Avant-Garde Art Online” dedicated to rediscovering marginalized avant-garde artists from Poland, Croatia, Belgium and Estonia. She was the main coordinator and curator of the project “Not Yet Written Stories: Women Artists’ Archives Online,” focusing on women artists from the 1960s and 1970s. The project was, among others, supported by Creative Europe, in collaboration with the Latvian Centre for Contemporary Arts in Riga and the Centre for Contemporary Arts SCCA in Ljubljana. 

Since November 2022 she works for Muzeum Susch as a main curator of reseach for the Susch Institute. She conducts her research focused on women artists from Switzerland and Central and Eastern Europe.