Ute Meta Bauer, Ute Meta Bauer Founding Director, Centre for Contemporary Art and Professor of  Contemporary Art, School of Art, Design and Media, Nanyang Technological University

Ute Meta Bauer is a curator of exhibitions and presentations on contemporary art, film, video, and sound. She is the Founding Director of the Centre for Contemporary Art, Singapore and has been a Professor at Nanyang Technological University, Singapore since 2013. Previously, from 2012–2013, she was the Dean of Fine Art at the Royal College of Art, London, UK. From 2005–2013, she was the Associate Professor at Massachusetts Institute of Technology (MIT), Cambridge, USA, where she not only served as the Founding Director of the Program in Art, Culture, and Technology (2009–2012), but also as the Director of the Visual Arts Program (2005–2009). Bauer was, with Hou Hanru, Co-Director of the World Biennale Forum No. 1 in Gwangju, Korea (2012); Artistic Director of the 3rd Berlin Biennale for Contemporary Art (2004); and Co-Curator of documenta 11, Germany (2001–2002). She has edited numerous publications, most recently, World Biennale Forum No 1 – Shifting Gravity with Hou Hanru and co-edited AR – Artistic Research with Thomas D. Trummer. In 2015, she will co-curate with Paul C. Ha, Director of the MIT List Visual Arts Center, the US Pavilion at the 56th Venice Biennale presenting Joan Jonas.

 

Michio Hayashi, Professor of Art History and Visual Studies, Dean of the Faculty of Liberal Arts, Sophia University, Japan

Specialising in art history and visual culture, Michio Hayashi has held his current position since 2003 and received his Ph.D. from Columbia University.  In 2005, he co-curated the international exhibition, Cubism in Asia (The National Museum of Modern Art, Tokyo, The National Museum of Contemporary Art, Korea, Singapore Art Museum). His publications include Painting Dies Twice, or Never, vol.1-7 (Tokyo: Art Trace, 2003-2009),  “Tracing the Graphic in Postwar Japanese Art,” Tokyo 1955-1970: A New Avant-Garde (exhibition catalogue), The Museum of Modern Art, New York: 94-119, “Painting Degree Zero—RR’s Whisper,”  Robert Ryman (exhibition catalogue), Kawamura Memorial Museum of Art, 2004) and “Atul Dodiya: Sincere Impurity,”  Atul Dodiya-Bombay: Labyrinth/Laboratory (exhibition catalogue), The Japan Foundation Asia Center, 2001). He also recently co-edited a volume of Japanese postwar art criticism, From Postwar to Postmodern: Art in Japan 1945-1989 (New York: The Museum of Modern Art, 2012). 

 

David Joselit, Distinguished Professor, Department of Art History, The Graduate Centre, The City University of New York

David Joselit is a Distinguished Professor in the Art History Ph.D. Program at the CUNY Graduate Center. He has taught at the University of California, Irvine and Yale University where he was Department Chair from 2006-09.  Joselit is author of Infinite Regress: Marcel Duchamp 1910-1941 (MIT, 1998), American Art Since 1945 (Thames and Hudson, 2003), Feedback: Television Against Democracy (MIT, 2007) and After Art (Princeton University Press, 2012). He is an editor of the journal OCTOBER and writes regularly on contemporary art and culture.