Angel Moya Garcia

Angel Moya Garcia (Cordova, Spain, 1980. Lives and works in Florence, Italy) is a contemporary art critic and curator. Graduated in History of Art at the University of Cordoba (Spain), he is Co-Director for the Visual Arts of Tenuta Dello Scompiglio in Lucca and a member of ICOM Italia - International Council of Museums, of IKT - International Association Of Curators Of Contemporary Art and of IAC - Institute of Contemporary Art in Spain. He was recently curator of the Spanish Pavilion in the first edition of the Malta Biennale (2024) and curator of the “Panorama” Project of the Rome Quadriennale (2022-2024), while in the past he curated the annual program of the BLM - Fondazione Bevilacqua La Masa artistic residences in Venice (2023) and was responsible for programming and cultural events at the Mattatoio in Rome (2020-2022). The fundamental dimension of his research focuses on the concept of identity, the collectivization of the individual and the deconstruction of the subject in contemporary philosophy. At the same time, he addresses questions on transversality, through the analysis of boundaries and the identification and deepening of convergences and intersecting lines in the different practices of contemporaneity, with a special attention to the languages ​​of installation and performance.

Marta Papini

Marta Papini is an independent curator. Since 2023, she has been the Artistic Director and Curator of Radis, a four-year public art project promoted by Fondazione Arte CRT, and from the 2026 edition she is curating the Photography section of Arte Fiera.

In 2025, she co-curated Fata Morgana: Memories from the Invisible with Massimiliano Gioni and Daniel Birnbaum, a project by Fondazione Nicola Trussardi at Palazzo Morando, Milan. She was Associate Curator of Dimanche Sans Fin at the Centre Pompidou-Metz (2025), together with Maurizio Cattelan and Chiara Parisi, Director of the Centre Pompidou-Metz. Alongside Lorenzo Giusti, she was Associate Curator of the ninth edition of Biennale Gherdëina, The Parliament of Marmots (2024), and of the project Thinking Like a Mountain (2024–2026) by GAMeC, Bergamo.

In 2022, she was Artistic Organizer of The Milk of Dreams, the 59th edition of the Venice Biennale, curated by Cecilia Alemani. She has co-curated and collaborated on the organization of exhibitions such as Lonely Are All Bridges. Birgit Jürgenssen and Cinzia Ruggeri at Fondazione ICA Milano (2025) and Galerie Hubert Winter, Vienna (2021); Il mondo magico, the Italian Pavilion at the 57th edition of the Venice Biennale (2017), curated by Cecilia Alemani; and The Artist is Present at the Yuz Museum in Shanghai (2018), with Maurizio Cattelan.

She served on the selection committees for the MAXXI BVLGARI PRIZE 2026 and the Future Generation Art Prize 2024.

Linda Rocco

Linda Rocco, PhD, is a London-based curator, writer and researcher. She is Tutor (Research) in Curating Contemporary Art at the Royal College of Art and Curator (Arts & Technology) at Somerset House Studios, where she leads n-Space, an art/tech fellowship and experimental research programme.

With over ten years of independent practice, Linda has curated exhibitions, programmes and residencies internationally with institutions including the Yinka Shonibare Foundation, Goethe-Institut London, Delfina Foundation, Brooklyn NARS Foundation and the Ministry of Culture Taiwan. She has also curated public commissions and digital projects for the Mayor of London.

Linda's practice-based research positions the curatorial as a site of infrastructural experimentation. It examines how AI, quantum computing and decentralised technologies reconfigure economic, social and institutional paradigms within the arts and society more broadly. In response, it develops and tests transdisciplinary models of collaboration, and pipelines that translate experimental research into public value and policy. Through programming, writing, exhibitions and cross-sector projects, she mobilises curatorial practice beyond its established institutions to prototype alternatives, intervene critically in public interest contexts and foster engagement with emerging technosocial conditions.

Linda holds an AHRC-funded, practice-based PhD. She regularly writes and works as a curator for artists, galleries and organisations, and consults and evaluates for foundations, public authorities and institutions on accessible, socially engaged and art/tech projects. She is part of XORG, a member of AICA UK International Association of Art Critics, and an Advance HE Fellow.

Bernardo Follini

Bernardo Follini è Senior Curator alla Fondazione Sandretto Re Rebaudengo di Torino. La sua pratica si concentra sulla prassi istituzionale e sulla relazione tra curatela, ricerca e pedagogia. Tra i suoi progetti recenti in Fondazione, ha curato le mostre personali di Alessandra Ferrini, Marwa Arsanios (2025), Mark Manders, Diana Anselmo (2024), Peng Zuqiang (2023), Diana Policarpo, Jonas Staal e Daniela Ortiz (2022); e le mostre collettive News from the Near Future (2025), organizzata in occasione dei 30 anni della Fondazione, Truly Rural (2024), The Butterfly Affect (2023).

Nel 2025 è stato parte del Content Committee che ha concepito e organizzato a Torino la conferenza annuale di CIMAM – International Committee for Museums and Collections of Modern Art.

È tutor e docente di CAMPO, corso di studi e pratiche curatoriali della Fondazione Sandretto Re Rebaudengo, e docente allo IED di Torino. È tra lə ideatorə e curatorə di Aperto (2024-in corso), un programma di seminari su professioni, pratiche e ricerche dell'arte promosso dalla Fondazione per l'Arte Moderna e Contemporanea CRT. Nel 2016 ha co-fondato lo spazio progetto e collettivo curatoriale Il Colorificio a Milano, attivo fino al 2022.

Eleonora Antoniadou is a London-based architect, researcher and educator. She is the founder and director of Superside Studio, an interdisciplinary practice specialising in exhibition architecture and spatial storytelling for museums and cultural institutions. Her work focuses on translating curatorial concepts into spatial experiences, working across exhibition design, installation, and public programmes.

She has collaborated with institutions including the Design Museum London, Art Explora, and the Museum of Modern Art Cyprus, working closely with artists and curators on exhibitions and cultural projects. She previously served on the national selection committee for the Cyprus Pavilion at the Venice Art and Architecture Biennale.

Eleonora is a PhD candidate at the Royal College of Art, London, and a lecturer at University College London and the University of Brighton. Her work and collaborations have been awarded, published, and exhibited internationally, including at the 16th and 17th Venice Architecture Biennale, the Royal Academy of Arts Summer Show, and the Benaki Museum in Athens.

Daniele Capra  

Daniele Capra is an independent art critic and curator based in Italy, recognized for his extensive work with contemporary art institutions across Europe, the Mediterranean, and Latin America. His curatorial practice deeply emphasizes emerging Italian artists and the conceptual art scenes of Eastern Europe.

Throughout his career, he has curated over a hundred exhibitions across Italy, France, the Czech Republic, Belgium, Austria, Croatia, Albania, Germany, and Israel. His institutional collaborations span major venues and museums, including MART in Rovereto, Ca’ Pesaro in Venice, the National Gallery of Arts in Tirana, the Museum of Contemporary Art of Belgrade, Villa Manin, and the Pinacoteca Nazionale in Bologna, among many others.

In addition to his exhibition work, Daniele has lectured on contemporary art at the Fine Arts Academies of Venice and Verona, the Wizo NB School of Design in Haifa, and various curatorial programs. He has also served as the curator of the Onufri Prize at the National Gallery of Tirana and the Trieste Contemporanea Award. Currently, he acts as General Secretary of Trieste Contemporanea and serves on the scientific board of Rave Residency.

As a writer and researcher, Daniele co-authored the book L'altro RAVE and a documentary on the Extra Ordinario Workshop. He has written over three hundred articles and contributes regularly to prominent cultural publications like Artribune, art-frame, and Il Manifesto. He lives a fast-paced life, with his laptop always on and stacks of books waiting to be read.

Ana Rito (Lisbon, 1978; Visual Artist, Curator, Researcher, Professor)

Ana Rito develops a curatorial and artistic practice that conceives curating as a field of critical inquiry, an epistemological device, and a mode of producing situated knowledge. She holds a PhD in Fine Arts from the Faculty of Fine Arts of the University of Lisbon, specialising in Installation. Her research focuses on the exhibition as a discursive form, the performativity of the moving image, and the processes through which spectators are constituted as subjects, articulating artistic, curatorial, and pedagogical practices within a shared plane of experimentation.

Since 2000, her practice has been structured around the exhibition understood as a medium, a regime of enunciation, a choreography of minimal gestures, and a temporal dispositif, activating relations between image, body, archive, and memory. Her work proposes processual and experimental curatorial models in which research materialises in the form of constellations, performative seminars, unstable archives, and discursive dispositifs. Between 2007 and 2022, as curator and researcher at the Berardo Collection Museum / Belém Cultural Centre, she collaborated with international curators, artists, and choreographers, consolidating a transdisciplinary approach that traverses the visual arts, cinema, performance, and critical theory.

Among her curatorial projects are: SHE IS A FEMME FATALE: Women Artists in the Collection of the Berardo Museum of Modern and Contemporary Art and One Woman Show, a film cycle in collaboration with the Festival Temps d’Images (Berardo Collection Museum, 2009); OBSERVERS_Revelations, Transits and Distances (Berardo Collection Museum, 2011); CURATING THE DOMESTIC – Images @ Home (Lisbon Architecture Triennale, 2013); THE EMBODIED VISION: Performance for the Camera (National Museum of Contemporary Art, 2014); Archive and Democracy (MAAT, Lisbon, 2017); CONSTELLATIONS: a choreography of minimal gestures (Berardo Collection Museum, 2019–2022); ENIGMA, by Pierre Coulibeuf (Galeria FOCO and the Cinemateca Portuguesa, Lisbon, 2022); SEMINÁRIO / Seminarium_curated research_the academy as medium (Colégio das Artes / Anozero Biennial, Coimbra, 2022); Magical World (FUSO – International Video Art Festival, Lisbon, 2022); The Ongoing Lecture (Retrovisor – Biennial of Culture and Education, National Arts Plan, 2023); and OVNI – International Video Art Festival (Nice, 2023). She curated the curatorial programme of the Photography Biennial BF22 and the edition BF24, SERPENTE INFINITA, developed from a speculative reading of A Lecture on Serpent Ritual, the text based on the lecture delivered by Aby Warburg in 1923, creating porous zones of contact and dialogue between photography and video art, as well as literature, performance, cinema, and drawing. She is the author of books, catalogues, and critical essays, and regularly serves on national and international juries.

Her practice extends into the pedagogical field, conceived as a curatorial and experimental space. She coordinates the Master’s programme in Curatorial Studies and teaches in the PhD programme in Contemporary Art at the Colégio das Artes, as well as in the PhD programme in Artistic Studies at the University of Coimbra, where she is an integrated researcher at CEIS20.

She is Deputy Director of the Colégio das Artes at the University of Coimbra, where she advances institutional models that articulate curating, research, and pedagogy as inseparable practices.

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Silvia Litardi

Silvia Litardi is an art historian, curator and cultural manager whose practice moves between institutional contexts and independent production, with a focus on contemporary art and public-
oriented projects. She is co-founder of NOS Visual Arts Production in Bologna, a platform dedicated to curatorial projects, commissions and publications in public and non-conventional
contexts. Her curatorial work has been presented at institutions including MAXXI, MAMbo, Centro
per l’Arte Contemporanea Luigi Pecci, MACRO, British School at Rome, Fondazione Pastificio
Cerere, Moderna Galerija in Podgorica and Centro Cultural Ricardo Rojas in Buenos Aires. She was
a visiting curator at the CKI – Danish Centre for Arts & Interculture in Copenhagen and has
developed curatorial projects in Argentina, including collaborations with the Bienal del Fin del
Mundo and the Buenos Aires art scene. Since 2011, she has also lectured at IED – Istituto Europeo
di Design in Rome, teaching museum curating and event management.

Yasmine Helou

Yasmine Helou (b.1996, Italy) is an Italian-Lebanese curator and cultural projects manager based in Venice. Helou’s approach to curating is characterized by an emphasis on cross-cultural dialogue and a commitment to fostering dynamic conversations on the fluctuation of meaning, in an attempt to reconsider one’s position within the contemporary.

She pursued her undergraduate studies at ICART in Paris, gaining experience in art galleries and museums such as The Museum of Modern Art of the City of Paris. In 2018, she completed a Master’s in Curatorial Practice at IED Venice and in 2024 pursued her second MA in Curating Contemporary Art at the Royal College of Art, in London.

In 2018 Helou co-founded a.topos, a curatorial collective based in Venice, where she served as co-founder and curator until 2020. In 2019 she worked as assistant curator for the National Pavilion of Malta at the 58th Venice Art Biennale and contributed to the DK Zattere Curatorial Lab of the V- A-C Foundation. In 2021, Helou took on the role of head of exhibitions and events at Venice Art Projects, curating and organizing a series of exhibitions and cultural events aimed at revitalizing abandoned spaces in Venice’s Castello district.

In this sense, she is particularly interested in working site-specifically in unconventional venues, collaboratively with the artists.

Following this particular approach, Helou’s curatorial work extends internationally, with involvement in multiple projects across Mexico City, Athens, Beirut, London, Paris, among others. Recent curatorial endeavors include institutional and private exhibitions such as Possible Landscape, Palazzo Corner della Ca Granda/Aman,Venice, Umor, Serre Torrigiani/Spazio Sassetti, Florence, XoXo (All you Need is Love),Vie Projects, Paris, Abbiamo Stoffa, Castello 2432, Venice (2025), Serial Recall, Niso Gallery, London (2025), Ad Interim, Hope 93, London (2025), Substance en Désordre, Vie Projects, Paris (2025), BETWIXT, BEYOND & UNBOUND, Casa Gilardi, Mexico City (2025), and Zapatos Rojos, Campo Santo Stefano, Venice (2024). She has also been a guest lecturer at IUAV, in Venice, head curator at the Sigg Art Foundation Residency in Athens, supported by the Ministry of Culture of Saudi Arabia (2023), participated in a number of panel discussions and published articles on art and culture.

Anna Numi

Anna Numi is a dedicated professional with experience at the intersection of arts, culture, and social impact. She holds a Master’s Degree in Languages for Tourism, Art, and Cultural Communication, with a thesis that examined the societal and cultural consequences of overtourism in art cities. Building on this foundation, she pursued a Master’s in Arts Management at Università Cattolica del Sacro Cuore in Milan, specializing in fundraising for the arts and cultural sector.

In recent years, Anna has collaborated with Università Cattolica del Sacro Cuore and engaged in professional courses focused on innovative fundraising strategies for the arts.

Currently, she works as Development Project Manager at TBA21 – Thyssen-Bornemisza Art Contemporary, a leading international art and advocacy foundation committed to art and culture as catalysts for social and environmental transformation. In this role, she develops and implements fundraising and targeted engagement strategies to support Ocean Space, TBA21’s exhibition and research center in Venice.

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Pablo Alvarez

Dr Pablo Luis Alvarez is a lecturer and writer whose specialism is the history of curatorial thinking and, in particular, the textual and live formats that curators have utilised to enact their thinking; he is interested in how such formats relate (or not) to curating's desire for political horizontality, collectivity and non-hierarchical platforms. Pablo has been a visiting lecturer on a number of curatorial courses at various universities, including Royal College of Art, where he completed his PhD, Glasgow School of Art, University of Dundee and University of Navarra (Spain). Between 2023 and 2025, he was an Associate Lecturer on the MA Curating programme at MIMA, where he also co-led the module Curatorial Practice with Prof Sarah Perks. He is currently working on an experimental novel, saulo rex, which will be published next autumn by queer publishing house Holográfica.