Nkule Mabaso is based in Cape Town. She currently works as curator at the Michaelis Galleries, at the university of Cape Town and is responsible for co-ordinating the exhibitions programme. Mabaso graduated with a Fine Arts degree from the University of Cape Town (2011) and received a Master’s in Curating at the Postgraduate Programme in Curating ZHdK, Zürich (2014). Her recent curatorial projects include curating the South African Pavilion at the 58th Venice Biennale, 2019 together with Dr. Nomusa Makhubu. the In 2017 she has also collaborated with the art historian, Manon Braat to towards the realization of the Exhibition and publication “Tell Freedom: 15 South Africa Artist”. She has authored articles and reviews in the OnCurating journal, Field Journal, Third Text. She serves on the committee of the UCT Works of Art Collection and other cultural institutions. Mabaso works collaboratively and her research interests engage the South Africa and Afro-continental context. She has curated shows and organised public talks in Switzerland, Malawi, Tanzania, and South Africa, and the Netherlands and all past projects are available: www.nkulemabaso.com.

Steven Henry Madoff is the founding chair of the Masters in Curatorial Practice program at the School of Visual Arts in New York. Previously, he served as senior critic at Yale University’s School of Art. He lectures internationally on such subjects as the history of interdisciplinary art, contemporary art, and art pedagogy. He has served as executive editor of ARTnews magazine and as president and editorial director of AltaCultura, a project of the Museum of Modern Art in New York. His books include What about Activism? from Sternberg Press; Art School (Propositions for the 21st Century) from MIT Press; Pop Art: A Critical History from University of California Press; Christopher Wilmarth: Light and Gravity from Princeton University; To Seminar (contributor) from Metropolis M Books. He has contributed essays to collections such as After the Educational Turn: Critical Art Pedagogies and Decolonialism (Black Dog Press); La valeur de l’art (Beaux-arts de Paris); To Seminar(Metropolis M); and Handbook for Artistic Research Education (ELIA). His criticism and journalism have been translated into many languages and have appeared regularly in such publications as the New York Times, Time magazine, Artforum, Art in America, Tate Etc., as well as in ARTnews and Modern Painters, where he has served as a contributing editor. He has curated exhibitions internationally over the last 30 years in the United States, Europe, and the Middle East. Madoff is the recipient of numerous awards, including grants and prizes from the National Endowment for the Arts and the Academy of American Poets. He holds his BA in English Literature from Columbia University, his MA in English and American Literature from Stanford University, and his PhD in Modern Thought and Literature from Stanford University.

Astrid Mania is currently Professor of Art Criticism and Modern Art History at HFBK Hamburg. As independent art critic, she also regularly contributes to Süddeutsche Zeitung and international art magazines, among them Artforum International. Together with Thomas Fischer, she recently co-edited "A Mental Masquerade - When Brian O'Doherty was a female art critic: Mary Josephson's collected writings."

Sarah Owens is an educator and researcher who focuses on the history, practice and mediation of visual artifacts, as well as the social and anthropological aspects of design. She currently chairs the subject area and directs the graduate programme in Visual Communication as well as research endeavours in this area at Zurich University of the Arts. She is a graduate of the University of Reading, the Royal College of Art in London, the University of Applied Sciences Augsburg and in 2009, was a fellow at the Akademie Schloss Solitude in Stuttgart.

Writer and Researcher, Founding Member of Kochi-Muziris Biennale. PhD candidate at Winchester School of Art (University of Southampton)tings."

Helena Reckitt is a curator, researcher and writer based in London, UK, where she is Reader in Curating in the Art Department at Goldsmiths, University of London. She has held curatorial and programming roles at institutions including the ICA, London, the Contemporary, Atlanta, and the Power Plant, Toronto, and has initiated exhibitions and discursive programmes independently for organisations such as the Blackwood Gallery, University of Toronto, Flux Projects, Atlanta, and The Showroom, London. With collaborators including artist Grace Ndiritu and curator Christine Shaw she has recently run a series of workshops on (un)learning habits of care in the cultural sector, and developing resistant, rather than compliant, subjectivities. These workshops form the basis of an informal cultural care network that she is developing in London with Lina Džuverović and Irene Revell. With Dorothee Richter and Simon Sheikh she is co-editing the Bloomsbury Reader in Curatorial Studies (2020, forthcoming).

Maayan Sheleff is an independent curator based in Tel Aviv, as well as the artistic advisor of The Art Cube Artists’ Studios in Jerusalem and the founder and curator of its international residency program, “LowRes Jerusalem”. Her projects take a reflexive approach towards participation and activism. She is currently studying for a Practice-Based PHD at the Curatorial platform, the University of Reading (UK) and ZHDK (CH), exploring political choirs, or the use of the collective human voice in participatory practices. Some of her recent projects include “The Infiltrators”, exhibition of participatory projects with African Asylum seekers, at Artport Gallery, Tel Aviv ( 2014), “Preaching to the Choir” at Herzlyia Museum in Israel (2015), and “50 years”, an activist project marking 50 year of Israeli occupation with Bet’selem human reights organization. She is currently working on an exhibition at the Bonnefantenmuseum in Maastricht, Holand, realted to her PHD research. She teaches in various academic institutions and her latest publication was Fear and Love in Graz, (in:) Empty Stages, Crowded Flats. Performativity as Curatorial Strategy, performing urgency #4, Editors Florian Malzacher and Janna Warsza.

Beat Wyss (1947 in Basle) is a Swiss art historian, was professor ordinarius for art history and media theory at Karlsruhe University of Arts and Design, Germany, and member of the Heidelberg Academy of Sciences and Humanities.

Since 1998, Richter has held lecturing posts at the University of Bremen, the Merz Akademie Stuttgart, the École des Beaux Arts in Geneva, and the University of Lüneburg alongside the travelling Exhibition/Archive “Curating Degree Zero Archive”. CDZA travelled to 18 different institutions, mainly in Europe, 2003-2008. From 1999 to the end of 2003, Richter was artistic director of the Künstlerhaus Bremen, where she curated a discursive programme based on feminist issues, urban situations, power relation issues, and institutional critique. In 2005 she founded the Postgraduate Programme in Curating, CAS/MAS at the ZHdK.
2012 she founded the PhD in Practice in Curating programme as a collaboration between the University of Reading and the ZHdK, in both institutions she helds a professorship.
She is directing in cooperation with others the OnCurating Project Space. (oncurating-space.org).

Curatorial projects among others: Fluxus Festival at Cabaret Voltaire (2008), New Social Sculptures at Kunstmuseum Thun (2012) Speculative Curating, Performative Interventions at Migros Museum for Contemporary Art (2016/17),  Small Project for Coming Communities, Stuttgart, Zürich (2019). She has co-curated numerous symposia, like Re-Visions of the Display (2009) with Jennifer Johns, Sigrid Schade; Institution as Medium. Curating as Institutional Critique? with Rein Wolfs (2010); Who is Afraid of the Public? at the ICA London with Elke Krasny, Silvia Simoncelli and the University of Reading (2013); Third, fourth and fifth spaces: Curatorial practices in new public and social (digital) spaces  with the Manifesta Journal and the Institute of Contemporary Art of the ZHdK (2013), with the Manifesta in Zürich Work, Migration, Memes, Personal Geopolitics, (2016), at the De-Colonizing Art Institutions (2017) Kunstmuseum Basel; Movements in Feminism / Feminisms in Movement: Urgencies, Emergencies, Promises, (2018) with Elke Krasny, Belvedere 21 Vienna; Curate Your Context: Methods on and of Curating (2019), Institut national d'histoire de l'art , Paris.

Her own PhD dealt with Fluxus, “Fluxus: Art – Synonymous with Life? Myths about Authorship, Production, Gender and Community”. In 2013, she released a film together with Ronald Kolb: Flux Us Now! Fluxus explored with a camera, which was screened for the first time at the Staatsgalerie Stuttgart in April 2013, at the Migros Museum in Zurich 2013, at the Museum Tinguely 2015, Ostwall Museum Dortmund 2015, Lentos Museum Linz 2017, Kunstmuseum Ulm, 2019, and different European art academies (www.fluxusnow.net) .

Ronald Kolb works as a designer, lecturer, and filmmaker in Stuttgart and Zurich. He was an Associate Professor at Merz Akademie, University of Applied Arts, Design and Media from 2009–2015 and is now Co-Head at the Postgraduate Programme in Curating, ZHdK. He is one of the editors of large of the journal On-Curating.org, and runs together with others the OnCurating Project Space (oncurating-space.org)  and has been honorary vice-chairman of Künstlerhaus Stuttgart since 2014.
He is enrolled in the PHD in Practice in Curating programme, a cooperation between Zurich University of the Arts and Reading University. ThePhD project deals with curatorial practices and community-based art on a global context with a focus on techniques and methods between counter-hegemony and governmentality. The research addresses itself with various concepts of “globalism” and how they are put to use in exhibitionary formats.