Yolande Zola Zoli van der Heide
Exhibition curator at Van Abbemuseum
9-12 December

Yolande Zola Zoli van der Heide
 is exhibitions curator at Van Abbemuseum, the Netherlands. Previously she was deputy director at Casco Art Institute: Working for the Commons, where she began as an intern in 2008. 

Her interests lie in intersecting perspectives and modes that decentre the oppressor in practices of freedom and liberation, to influence art institutional practices. 

She is co-editor of: A Lasting Truth Is Change (forthcoming); Laure Prouvost, This Means Love (Lisson Gallery, Van Abbemuseum, 2021); Unlearning Exercises: Art Organisations as Sites for Unlearning (Casco Art Institute, Valiz, 2018).

She has been a tutor at the Dutch Art Institute, Roaming Academy, thesis advisor in the Fine Arts department at the Sandberg Institute, Amsterdam (2016–2019). She is a board member at NeverNeverland, Amsterdam, and at Kunstituut Melly, Rotterdam.

Currently on the nightstand: The Book of Delights by Ross Gay.

Andra Silapētere
Curator and researcher at the Latvian Centre for Contemporary Art
6-12 September

Attending the Rehearsing Hospitalities programme in September

Andra Silapētere is a curator and researcher at the Latvian Centre for Contemporary Art (LCCA) where she is currently working on the international research project Not Yet Written Stories — Women Artists’ Archives Online about women artists in Eastern Europe. Together with Solvita Krese she is curating the Latvian Pavilion at the Venice Biennale 2022 with the artists Skuja Braden.

Silapētere’s recent projects include Portable Landscapes about Latvian migration and exile art throughout the 20th century, as part of which she co-curated the exhibitions Portable Landscapes at the Latvian National Museum of Art (2018), Portable Landscapes: Unweaving the Iron Curtain at District Berlin (2019) and Portable Landscapes: Hell’s Kitchen at the James Gallery in New York (2019). Other selected exhibitions include: I Remember, Therefore I Am. Not Yet Written stories: Woman Artist Archives (2020), Unexpected Encounters (together with Solvita Krese and Inga Lāce, 2019), Twofold. Kaspars Groševs and Jānis Borgs (2017), Lost in the Archive (together with Inga Lāce, 2016). Silapētere has also been the project manager and curator of the LCCA’s Summer School (2014 -2016, 2020).

Abir Boukhari
Independent curator
8-12 September

Attending the Rehearsing Hospitalities programme in September

Abir Boukhari is a curator from Damascus, Syria, based in Stockholm since 2015. She is the director, curator and co-founder of AllArtNow. AllArtNow is considered to be the first independent collective space for contemporary art in Syria. Founded in Damascus in 2005, AllArtNow has since the war broke out in 2012 turned into a nomadic space, working from different places. Since 2019, AllArtNow opened a project space in Stockholm (AllArtNowLab).

Abir’s work can be described as trans-disciplinary curatorial research. Her projects and exhibitions reflect interests in socio-political issues. Abir’s projects tackle concepts of memory as a metamorphic entity, identity and the questions of waiting and belonging whilst being in transfer. Throughout her career, Abir has been specifically interested in literature and its relation to art. Abir has developed a curatorial practice that has been distinguished by its openness to new media and transdisciplinary practices.

In Damascus (2005-2012), Abir run the artistic programme for AllArtNow, and was the artistic director for Living Spaces Festival for Contemporary Arts. Abir has also operated as the artistic director of Studio (an informal school for contemporary arts in Syria). Abir is also the co-founder of Boukhari House for Artist Residencies and the culture center Maktab Creative Zone. Since her move to Stockholm in 2015, she has been doing curatorial work, exploring the effects of displacement, culturally and individually and notions on global “nomadism”. Abir has collaborated with a number of arts organisations and institutions; Botkyrka konsthall/Residence Botkyrka (Sweden), The World Culture Museum in Göteborg (Sweden), Sörmland Museum in Nyköping (Sweden), Jönkoping Läns Museum (Sweden), Kultivera in Tranås (Sweden), among many others.

Alen Ksoll
Independent curator
8-12 September

Attending the Rehearsing Hospitalities programme in September

Alen Ksoll is a Stockholm-based curator, educator, and researcher working with transformative pedagogies, speculative fiction, queer futures, and political ecologies. In developing public programs and holding spaces for knowledge exchange, he proposes workshops, exercises, and games experimenting with models of being together otherwise. 

Alen is a co-founder of School in Common, a self-organised school and a trans-local network of practitioners working with the commons. As part of the Demand the Impossible collective and research group, he works with the role of art and imagination in stating radical demands and elaborating tools for social and political organising. 

He is currently a guest lecturer at the Royal Institute of Art, Stockholm, for the post-master course Collective Practices II: Symbiotic Organisations.

Lilian Hiob
Independent curator
7-11 September

Attending the Rehearsing Hospitalities programme in September

Lilian Hiob is a curator and art agent. She is a manager at Temnikova & Kasela gallery. Lilian is also the founder of an independent gallery located in her basement, Hoib gallery. 

Together with Siim Preiman she is hosting a monthly radio show Vitamin K at IDA radio, dedicated to contemporary art.

Francisco Martínez
Anthropologist and curator
7-11 September

Attending the Rehearsing Hospitalities programme in September

Francisco Martínez is an anthropologist dealing with contemporary issues of material culture through ethnographic experiments. In his work, he explores how the materiality around us frames the way we know the world, making use of exhibitions as a methodology for social research. In 2018, he was awarded with the Early Career Prize of the European Association of Social Anthropologists.

Francisco works as Associate Professor at Tallinn University and convenes the Collaboratory for Ethnographic Experimentation (EASA Network). Francisco has published several books, including Ethnographic Experiments with Artists, Designers and Boundary Objects (UCL Press, 2021) and Remains of the Soviet Past in Estonia (UCL Press, 2018). He has also curated different exhibitions – including Objects of Attention (Estonian Museum of Applied Art & Design, 2019), and Life in Decline (Estonian Mining Museum, 2021).

Joanna Hoffmann
Director of Tartu Art Museum
7-11 September
Attending the Rehearsing Hospitalities programme
in September

Joanna Hoffmann (1990) is an art historian, curator and artist. In 2016, she graduated with a master’s degree in painting from the Estonian Academy of Arts. That same year she started working as a curator in the Tartu Art Museum.

At Tartu Art Museum, Joanna has curated various group and personal exhibitions. In 2020, she and co-curators Hanna-Liis Kont and Annegret Kriisa received the Annual Award of the Estonian Museums in the category of temporary exhibitions for their exhibition Pallas 100The Art School and It’s Legend. Hoffmann is currently working as the director of the Tartu Art museum and continues her studies at the Tartu University’s art history department.

Mechu Rapela
Curator and member of Tenthaus collective
6-12 September
Attending the Rehearsing Hospitalities programme
in September

Mechu Rapela is a member of Tenthaus collective. In organisational terms Mechu is the managing director. In the collectives terms, the driver. Mechu’s role at Tenthaus collective is to keep everyone to the destination they need to get, knowing when to push forward, step aside or stop to recalibrate the route.

Mechu is an external curator at KORO and a member of Decolonial arts education research and practice research group at the Department of Teacher Education at NTNU. 

Mechu was born and raised in Cordoba, Argentina. She received her education at UiO, where she graduated with a MA in Art History.

Marten Esko
Independent curator
8-11 September
Attending the Rehearsing Hospitalities programme
in September

Marten Esko is a curator, art-worker, exhibition-maker, manager and writer based in Tallinn, Estonia. He is a board member of the Contemporary Art Museum of Estonia (EKKM), which he ran between 2016 – 2020. Since 2015, Marten has been one of the board members of the Tallinn Print Triennial Foundation. His practice to date has focused on various ways of exhibiting and exhibition-making, taking pleasure in material and spatial as well as conceptual and contextual approaches towards knowledge-, awareness-, meaning- and ignorance-making.

Airi Triisberg
Independent curator
6-12 September
Attending the Rehearsing Hospitalities programme
in September

Airi Triisberg is an independent writer, curator and educator based in Tallinn. She is interested in the overlapping fields between contemporary art practices and movement politics. Her interests include issues related to gender and sexualities, illness/health and dis/abilities, self-organisation and collective care practices, struggles against precarious working conditions in the art field and beyond. She often works at the intersection of cultural practice, knowledge production and self-organisation.

One of her ongoing interests is focused on struggles against precarious working conditions and art workers organising. In 2010-2012 she was active in the art workers movement in Tallinn. During her curatorial fellowship at the Museum of Contemporary Art in Leipzig, she initiated critical conversations about art economy with the event series I Can’t I Have to Work. In 2015, she published the book Art Workers – Material Conditions and Labour Struggles in Contemporary Art Practice together with Minna Henriksson and Erik Krikortz. This book conceptualises recent practices of art workers organising in various locations of Europe.

Another strand in her practice engages with issues of body and dis/ability, illness and health, affect and care. In the frame of this research interest she is organising exhibitions and events that reflect on historical and contemporary moments when the experience of illness and disability have been politicised in order to express social critique. In 2015 she curated Get Well Soon!, an exhibition presenting artistic re-articulations of social imaginaries rooted in the radical movements of the 1970s. 

Currently she is doing research about political biographies in Eastern Europe.

Kaarin Kivirähk
Editor-in-chief of weekly CCA web magazine
7-10 September
Attending the Rehearsing Hospitalities programme
in September

Kaarin Kivirähk works at the Estonian Centre for Contemporary Art where she is editor-in-chief of weekly CCA web magazine. She has worked as communication manager for international art projects, such as Estonian Pavilion at the Venice biennial and Baltic Triennial 13.

Kivirähk writes a column on contemporary art and visual culture for Postimees newspaper. She has studied art history in Tartu University (BA) and cultural theory in Tallinn University (MA).

Ann Mirjam Vaikla
Independent curator and artist
7-11 September
Attending the Rehearsing Hospitalities programme
in September

Ann Mirjam Vaikla works as an artist, curator and scenographer. Her practice lies in the intersection of performing and visual arts working within various contexts at galleries, theaters and public spaces in Estonia and internationally. Nominated for a CEC ArtsLink fellowship, she is participating in upcoming autumn residency programmes at the Triangle Arts Association and Grand Central Art Center in the US.

She led Narva Art Residency (NART) 2017-2021 working mostly on curatorial projects that involved community engagement (Point of No Return. Attunement of Attention, 2021; WEEDS FEED!, 2021; Narva Urban Lab projects (Re)configuring Territories, 2019, and Narva–Detroit: Postindustrial Cities on the Border – Where to?, 2018). She studied Scenography (BA) at the Norwegian Theatre Academy and Culture and Arts (MA) at the Novia University of Applied Sciences in Finland.

Edvinas Grinkevičius
Independent curator
6-13 September
Attending the Rehearsing Hospitalities programme
in September

Edvinas Grinkevičius (1988) is a curator, cultural manager and artist, currently based in Kaunas, Lithuania. The broad spectre of his practice consists of curatorial and artistic activities, all connected through an active interest in leftist and queer politics and practices, which aim to provide artistic practices with a transformative potential especially within institutionalised structures. Grinkevičius has worked as a curator at the Kaunas Artists’ House since 2017. In 2019, he started to curate the residency programme Unlearning Eastern Europe. In 2021, he, with art historian and curator Rebeka Poldsam, started Baltic queer art and politics network Black Rose. Black Carnation.

Since 2016 Grinkevičius has been one of the initiators and co-curators of WE ARE PROPAGANDA, the counter-culture queer movement. The same year marked the beginning of performing terrorist drag dj performances under the artist’s alter ego – drag persona Querelle.

Eglé Nedzinskaité
Curator of educational programs at the National Gallery of Art (Vilnius)
Attending the Rehearsing Hospitalities programme in April-May

Since 2009 Eglé Nedzinskaité has been the curator of educational programs at the National Gallery of Art (Vilnius), a subdivision of the Lithuanian National Art Museum.

In 2019 she was awarded the Lithuanian Ministry of Culture award for educational projects for children under 13 years old. Since 2020 she has been the curator and mentor of the educational project That Strange Art for teenagers. The project aims to give young people hands-on and full experience of what it is like to be an exhibition curator, architect, designer and manager. The result of this year-long project will be an exhibition at the National Gallery of Art wholly created by teenagers. From spring 2019, she has been the creative agent in work with schools, children from difficult social backgrounds and communities around Lithuania in projects by Asociacija “Kūrybinės jungtys”.

From autumn 2019 onwards, she has been the coordinator of the EU Erasmus+ project AMUSING (Adapting Museums for educational Inclusive Goals)—aiming to share experiences between Spanish, Italian, Greek and Lithuanian educators on how to make schools and museums more accessible for visually impaired children and adults.

At the National Gallery of Art (Vilnius), she has co-curated exhibitions for the blind and visually impaired titled BLIND DATE I and BLIND DATE II, worked as the co-author of educational workshops Pictures of Senses, and curates the educational program Let’s Meet at The Museum for people with dementia and Alzheimers.

Yates Norton
Curator at The Roberts Institute of Art
Attending the Rehearsing Hospitalities programme
in April-May

Yates Norton is a curator at The Roberts Institute of Art, London. Previously, he was curator at Rupert, a publicly funded centre for art, residencies and education, located in Vilnius, Lithuania; latterly directing Rupert’s 2020 public programmes on Care and Interdependence and co-developing the programme for the Creative Europe funded consortium, ‘Who Cares?’. Collaborating closely with David Ruebain, he is committed to disability justice work and has spoken on this in various arts and educational settings, including at the ICA and the Serpentine, London. His collaborations and work with artists include singing in Lina Lapelytė, Vaiva Grainytė and Rugilė Barzdžiukaitė’s Golden Lion-awarded opera, “Sun and Sea.” He studied at the University of Cambridge, Harvard University and the Courtauld Institute of Art.

Miriam Wistreich
Director of UKS
Attending the Rehearsing Hospitalities programme in April-May

Miriam Wistreich is the director of UKS – (Unge Kunstneres Samfund / Young Artists’ Society), an Oslo-based institution for contemporary art and a Norwegian membership organization. Founded by artists for artists in 1921, UKS has since established itself as one of Norway’s core experimental venues for the arts; convening, exhibiting, and supporting critical voices of contemporary artists, with the objective of having both an artistic and political impact within and beyond its region. 

Wistreich’s current interests revolve around questions of infrastructure; how to build and sustain spaces that promote more caring and equal spaces and institutions. She was previously Creative Director at Hotel Maria Kapel, an artist-in-residency and exhibition space in the town of Hoorn, NL. As part of part of the Laboratory for Aesthetics and Ecology, a curatorial platform for planetary becoming, she co-curated the 2020 biennial Alt_Cph: Patterns in Resistance in Copenhagen, DK. She is an alumnus of De Appel Curatorial Programme and has previously worked with organisations such as I Can’t Dance I Don’t Want to be Part of Your Revolution and the Gerrit Rietveld Academie, NL, SMK – National Gallery of Denmark and Louisiana Museum of Modern art, DK.

Eva Rowson
Artist, curator and Managing Director of Bergen Kjøtt
Attending the Rehearsing Hospitalities programme in April

Eva Rowson is an artist, curator and Managing Director of Bergen Kjøtt, a production house, creative workplace and cultural venue in Bergen, Norway. Her curatorial work is organised around hosting, collaboration and organisational practices – focusing on how the different types of work involved are valued, and with what consequences. This research is at the core of projects including the curatorial programme “Who’s doing the washing up?”, Bergen Kunsthall (Norway) and Lighthouse (UK), 2018-19 and ‘Como imaginar una musea?’, a Catalan-Spanish-English conjuring of a feminist cultural institution (2018-19).

In my role as Director of Bergen Kjøtt, I want to actively work for more diversity not only on stage but behind the scenes. I want to champion and create a workplace which centres the ethos that all types of work should be valued with the same care and pay and agency.

Gemma Medina Estupiñán
Independent curator
Attending the Rehearsing Hospitalities programme in April – May

Gemma Medina Estupiñán (PhD at Universidad de La Laguna, Tf – b.1975, Spain) is an art historian, independent curator, educator and writer working internationally. She is focused on the relationship between art, art institutions and society, researching socially engaged practices, activating other possible pedagogies and participating in processes that fall outside standard artistic discourse to bring art closer to the non-specialized audiences. In doing so, she fosters connections and collaborative projects with artists, designers and communities as a medium to reflect on the role of art and art institutions, the idea of the canon, and the very construction of art history. She has worked with the Van Abbemuseum Eindhoven (NL) in diverse experimental and speculative projects like “Be(com)ing Dutch” (2008), “Play Van Abbe” (2009), Agents of Change (2015-2020) and the artists in residency program “Artistic Strategies in Psychiatry” (2017). 

Since 2012 she has been working in close collaboration with the Van Abbemuseum, the Asociación de Arte Útil and the artist Tania Bruguera, to build the Arte Útil Archive that was the core of the exhibition “The Museum of Arte Útil” (2013-2014) where she co-curated the public program. She is co-curator of “Broadcasting the archive” (2016-2018), a project to emancipate the usership around the Arte Útil archive. She currently teaches at the international Master Artist Educator at ArtEZ (Arnhem, NL).

Kate Brehme
Independent Curator and Arts Educator based in Berlin
Online meetings in April–May

Kate Brehme is an Australian Independent Curator and Arts Educator based in Berlin. She has worked internationally on a variety of projects, exhibitions and events and since 2008 she has run Contemporary Art Exchange, a curatorial platform providing professional development opportunities for emerging and young artists. 

Kate began her curatorial career in 2002 while undertaking a Diploma of Visual Arts and BA in Contemporary Art in Melbourne, Australia. After completing her MA in Cultural Heritage Studies (also in Melbourne) in 2008, Kate lived and worked in Scotland, where she became involved in arts education working for organisations such as The Fruitmarket Gallery, The National Galleries of Scotland and Strathclyde University. 

In 2009 Kate founded Contemporary Art Exchange, a nomadic curatorial platform fostering professional development, accessibility and inclusion of young artists through international projects. In 2012 Kate curated Through the Looking Glass Dimly, an international collaboration project with two visually impaired artists which featured as part of the Edinburgh Art Festival. 

After relocating to Berlin in 2013 Kate organised the British Council-funded follow-up project Common Bond. Both projects explored the nature of accessibility in visual art and featured accessible exhibitions, events and workshops. 

Kate recently completed a DFG-funded Doctoral Fellowship at the Center for Metropolitan Studies at Berlin Technical University where she explored the relationship between contemporary art production and urban development through the case study of the Berlin Biennale for Contemporary Art. Kate is currently a lecturer in the Master in Arts Education programme at the Piet Zwart Institute in Rotterdam and at the NODE Center for Curatorial Studies in Berlin. She is also the co-founder of Berlinklusion – Berlin’s Network for Accessibility in Arts and Culture – an organisation established in 2017 to make the arts in Berlin more accessible for artists and audiences with disabilities.

Caterina Avataneo
Independent curator
Online meetings throughout April

Caterina Avataneo is a curator based between London and Turin. Her curatorial practice involves thinking through artworks in order to present perspectives that deviate from hegemonic ways of envisioning the present.

She graduated in Architecture at Politecnico of Turin, before holding an MFA in Curating from The London Metropolitan University, delivered in conjunction with Whitechapel Gallery. She was awarded the 2017 NEON CURATORIAL AWARD by The Neon Foundation and Whitechapel Gallery and her curatorial projects have appeared in Institutions and galleries including: Zabludowicz Collection, Kunstraum, White Crypt, Gossamer Fog, Austrian Cultural Forum (all London); Arcade (London & Brussels); HAUS (Vienna); Britta Rettberg (Munich) and SixtyEight Art Institute (Copenhagen). 

Between 2018-2020 she has been Curatorial Assistant on assigned projects at Serpentine Galleries. Since 2018 she is Associate Curator at Arcade Gallery and since 2019 she is curator at DEMO Moving Image  Recently she was curator in residence at RUPERT (Vilnius) and Salzburger Kunstverein (Salzburg) as well as Assistant Curator of the Lithuanian Pavilion for the 58th Venice Biennale, winner of the Golden Lion.

I am currently researching the Aesthetics of the Dark in contemporary art practice; the role of darkness, negativity and evil (intended more in its original etymology of exceeding limits). In such a context the gothic and its historical implications are of interest to me.

Gothic tends to recur in history, especially in moments of cultural transition, blurring boundaries between genres and disciplines and opening up to new versions of reality. I am now convinced that we are living in a gothic time again and I am curious to find out which art practices express a sensibility for similar considerations in relation to contemporary dynamics.

Daria Khan
Curator and Director of Mimosa House
Online meetings throughout April

Daria Khan is the director and curator of Mimosa House, an independent non-profit art institution that she founded in 2017 in London. Dedicated to artistic experimentation and collaboration, Mimosa House supports intergenerational women and queer artists. Mimosa House is focused on feminism and queer studies, as well as language, poetry and sound based practices.

Daria was a curator in residency at the MuseumsQuartier, Vienna and a participant of EUNIC programme at the Palais de Tokyo, Paris. She participated in talks and conferences at Christ Church, Oxford University; School of the Art Institute of Chicago and Centre Pompidou, and worked on curatorial and educational projects at Austrian Cultural Forum, London; Photographers Gallery, London, Freiraum 21 International, MuseumsQuartier Vienna and the 5th Moscow Biennial, Moscow.

Daria is currently undertaking the PhD at Goldsmiths University, London, with her current research on curatorial strategies for translating, archiving and exhibiting performative poetry in the context of contemporary visual arts.

José Roca
Artistic Director of the 23rd Biennale of Sydney
Online meetings throughout February

José Roca is a Colombian curator, currently the Artistic Director of the 23rd Biennale of Sydney. He runs FLORA ars+natura, an independent space for contemporary art in Bogotá.

From 2012 to 2015 Roca was the Estrellita B. Brodsky Adjunct Curator of Latin American Art at Tate, London, and from 2012-20 he was the curator of the LARA collection, Singapore. For a decade he managed the arts program at the Banco de la República (MAMU) in Bogotá. Moreover, Roca was a co-curator of the I Poly/graphic Triennial in San Juan, Puerto Rico (2004), the 27th Bienal de São Paulo, Brazil (2006) and the Encuentro de Medellín MDE07 (2007). He was also the Artistic Director of Philagrafika 2010, Philadelphia’s international Triennial celebrating print in contemporary art.

He is the author of Transpolitical: art in Colombia 1992-2012 (with Sylvia Suárez), and Waterweavers: A Chronicle of Rivers (with Alejandro Martín), published by the Bard Graduate Center in New York in conjunction with the exhibition Waterweavers: The River in Contemporary Colombian Visual and Material Culture (2014).

Roca’s work is heavily influenced by the relationship between art and nature, and the 23rd Biennale of Sydney will have a strong focus on sustainability and collaboration. Roca will reduce the environmental impact of the Biennale, limiting international travel during the research process by working with a worldwide network of colleagues, (re)producing works locally, and working inter-institutionally to optimise resources. The team of curators for the 23rd Biennale of Sydney will also include Paschal Daantos Berry, head of learning at participation at the Art Gallery of New South Wales; Anna Davis, curator at the Museum of Contemporary Art Australia; Hannah Donnelly, producer of First Nations programs at Information + Cultural Exchange (I.C.E.); and Talia Linz, curator at Artspace in Sydney.

Lucia Pietroiusti
Curator of General Ecology at Serpentine Galleries
Online meetings in January–February

Lucia Pietroiusti is a curator based in London, working across disciplines at the intersection of art and ecology, mostly outside of the exhibition format. She is Curator of General Ecology at Serpentine Galleries. Ongoing projects include The Shape of a Circle in the Mind of a Fish (with Filipa Ramos) and Back to Earth.

Pietroiusti was the founder of the General Ecology project and network, and a co-founder of Serpentine Radio. Outside Serpentine, she is the curator of

Sun & Sea by Rugilė BarzdžiukaitėVaiva Grainytė and Lina Lapelytė, the Lithuanian Pavilion at the 58th Venice Biennale. She is one of the Curators of the 2020-2021 Shanghai Biennale. Publications include More-than-Human with Andrés Jaque and Marina Otero Verzier, forthcoming in late 2020.

Artist collective
Online meetings in January

ruangrupa, currently curating contemporary art exhibition documenta fifteen, is a Jakarta-based collective established in 2000. The collective runs an art space in South Jakarta and realizes exhibitions, festivals, publications and radio formats. The Indonesian word ruangrupa loosely translates as “a space for art” or “a space form”. This field of tension is already apparent from the collective’s central curatorial approach.

Their approach is based on an international network of local, community-based organisations from the art and other cultural contexts and can be outlined by the Indonesian term ”lumbung”.

ruangrupa has participated in many cooperation and exhibition projects, including the Gwangju Biennale (2002 and 2018), the Istanbul Biennale (2005), the Asia Pacific Triennial of Contemporary Art (Brisbane, 2012), the Singapore Biennale (2011), the São Paulo Biennale (2014), the Aichi Triennale (Nagoya, 2016) and Cosmopolis at Centre Pompidou (Paris, 2017). In 2016, ruangrupa curated TRANSaction: Sonsbeek 2016 in Arnhem, the Netherlands. In 2018, the participants founded GUDSKUL, an educational and networking project for creatives based on cooperative work.

Frame organised an online lunch session Hanging out with ruangrupa with the collective in the context of the visitor programme in January 2021.