Our International Lecturers & Experts
We work together with artists, curators, critics, and authors. The international instructors from different artistic disciplines work with various media including painting, sculpture, drawing, film/video, installation, architecture, photography, illustration, intervention, and performance. All online courses & classes are held in English.
Dagmara Genda is an artist and writer. Her art art has been shown at the Arp Museum, Remagen DE Walter Phillips Gallery, Banff; the Esker Foundation, Calgary; Contemporary Art Forum Kitchener + Area Biennial 2014, as well as numerous public and private venues across Canada, the US and Europe. Genda is currently completing a public art project for the expansion of the subway system in Toronto.
Emma Waltraud Howes is a Berlin-based visual artist/dancer and choreographer originally from Toronto, ON, Canada. As translations between movement and form, her works manifest as multiple reconfigurations of the body and space informed by her background in dance, performance theory, and the visual arts within the frame of a conceptual art practice. Her labor is guided by observations of gestures with a focus on the development of an expanded choreographic practice incorporating public interventions, kinaesthetic and architectural research, and an underlying drawing component in the form of graphic scores for performances – compositions representative of a stage in the development from concept and intention to depiction and effect.
Howes studied Ballet and Baroque Opera before becoming a company member with the Canadian Contemporary Dance Theatre. She holds a certificate in professional dance from Toronto Dance Theatre (1997); a BFA from Emily Carr Institute of Art and Design, Vancouver (2002); a joint MFA in Open Media from Concordia University, Montreal (2008) and The Bauhaus-Universität, Weimar (2009); and ran a martial arts school for ten years.
Maria Isserlis is a curator, art historian & a co-founder of the curatorial platform A:D: based in Berlin & Dresden. Whilst studying Art History and Media Science at the Friedrich-Schiller-University, Maria Isserlis (born 1986, Kyiv, UA) became an assistant curator in the Contemporary Art Department of the State Hermitage Museum (St. Petersburg, RU), where she realised numerous shows including End of Fun by Chapman Brothers, while also working parallel as a freelance curator for the Goethe Institute St. Petersburg. After returning to Germany she was based in Berlin and organised the exhibition Home of Future at the Haus am Waldsee Museum. Since 2013 Maria has been working as the General Coordinator of MANIFESTA 10 (St. Petersburg, RU). Following Manifesta 11 (Zurich, CH) Maria joined the curatorial team of the biennial and curated part of new productions including Maurizio Cattelan, Mario Garcia Torres and Aslı Çavuşoğlu new works. In 2016-17 Maria was an exhibition director at the V-A-C Foundation Zattere (Venice, IT) and produced the exhibition Space Force Construction in collaboration with Chicago Art Institute (USA). In 2017 and 2018 she was a co-curator of the first and second edition of aresearch program, AKI AORA (Tulum, MEX). From Sept. 2019 Maria joined the curatorial team of the museum Albertinum (Dresden). Currently Maria curates the solo show of Alban Muja at the Pristina National Gallery (Pristina, KO).
is a critic, curator and artist, based in Berlin. His essays, portraits or criticism has been published by international art magazines, such as Flash Art International (Milano), Frieze d/e (Berlin/London), Billedkunst (Oslo), /100 (Berlin) and in books by institutions such as the UCLA Hammer Museum, Los Angeles; MUSAC, Leon; Aspen Museum, Colorado; Schirn Kunsthalle, Frankfurt/Main; Thyssen Bornemisza Contemporary, Vienna; Kunsthalle Düsseldorf; Julia Stoschek Collection, Düsseldorf and many others. His artwork is invested in creating collaborative formats, oscillating between sculpture performance and exhibitions. This includes collaborations with other artists such as »Come early, avoid disappointment« with the artist group Gelitin at TBA21 in Vienna, and the Venice Biennale, 2011, or »The Art of Conversation« with Paolo Chiasera and Matthew Antezzo, at PSM Galllery, Berlin, 2013, or or his art related music projects, including ACO- Art Critics Orchestra, (w. Raimar Stange, Oystein Aasan, Sabine Schmidt, and others), or The B-Men (w. Manfred Peckl, Marc Bijl u. Marcus Sendlinger).
Born in 1976 in Damascus Suburb, and currently based in Berlin, Khaled Barakeh graduated from the Faculty of Fine Arts in Damascus, Syria in 2005, completed his MFA at Funen Art Academy in Odense, Denmark in 2010 and finished his Meisterschueler at the Städelschule Art Academy in Frankfurt a.M, Germany in 2013. During his stay in Europe Barakeh, originally trained as a painter, has developed a stronger concentration on conceptual art practices. Today he works in a variety of media, focusing on the current and pertinent issues, often revolving around politics and power structures in context of identity, culture and history. He has exhibited at the Künstlerhaus Stuttgart; Shanghai Biennale; Salt Istanbul; Kunsthalle Brandts, Overgaden Denmark; Frankfurter Kunstverein; Artspace New Zealand and many other institutions and venues around the world.
Recently Barakeh started a new initiative called Syria Cultural Index, dedicated to mapping and connecting the Syrian artistic community around the globe and showcasing their work to wider audience.
born in 1981 in Diyarbakır, is a sociocultural initiator, artist, and lecturer who lives and works in Berlin and Amsterdam.
He is the initiator of The Silent University, which is an autonomous knowledge exchange platform by refugees, asylum seekers. Working across a variety of media, Öğüt’s institutional solo exhibitions include Round-the-clock, Alt Art Space Istanbul (2016); Forward!, Van Abbemuseum, Eindhoven (2015); Happy Together: Collaborators Collaborating, Chisenhale Gallery, London (2015); The MATRIX Program at the UC Berkeley Art Museum (2010); and Kunsthalle Basel (2008). He has also participated in numerous group exhibitions, including the British Art Show 8 (2015-2017); Okayama Art Summit; 11th Gwangju Biennale; Museum On/OFF, Centre Pompidou, Paris, FR (2016), the 13th Biennale de Lyon (2015); 8th Shenzhen Sculpture Biennale (2014); Performa 13, the Fifth Biennial of Visual Art Performance, New York (2013); the 7th Liverpool Biennial (2012); the 12th Istanbul Biennial (2011); the New Museum Triennial, New York (2009); and the 5th Berlin Biennial for Contemporary Art (2008).
He has taught at the Dutch Art Institute, Netherlands (2012); the Finnish Academy of Fine Arts, Finland (2011–ongoing); and Yildiz Teknik University, Turkey (2004–2006), among others.
Öğüt was awarded the Visible Award for the Silent University (2013); the special prize of the Future Generation Art Prize, Pinchuk Art Centre, Ukraine (2012); the De Volkskrant Beeldende Kunst Prijs 2011, Netherlands; and the Kunstpreis Europas Zukunft, Museum of Contemporary Art, Germany (2010). He co-represented Turkey at the 53rd Venice Biennale (2009).
Manray HSU is an independent curator and art critic based in Taipei. Manray is co-founder and director (2010-2012) of Taipei Contemporary Art Center and teaches at art academies in Taiwan and abroad.
A main focus of Manray’s work is on politics of mobility, borders of different forms and urban conditions in the age of globalisation, flows of capital, and activism-related art. Recent research includes interdisciplinary art practices related to environmental issues, multi-species interactions in urban and rural scenarios, with a special interest in viewing the Anthropocene in the context of contemporary philosophy and ancient Chinese thinking.
Major exhibitions include, “The Sky Is the Limit: 2000 Taipei Biennial” (with Jerome Sans, Taipei Fine Arts Museum); “How Big Is the World?” (2001, O.K Center for Contemporary Art, Linz); Wayward Economy (2004, Main Trend Gallery, Taipei); “Wrong(ed) Attitudes: Tsui Kuangyu and Su Huiyu” (2006, Sparwasser HQ, Berlin); Naked Life (2006, MOCA Taipei); Liverpool Biennial in 2006 (with Gerardo Mosquera); “Future Relics” (2007, co-organized with Hu Fang, Documenta 12 Magazine); 2008 Taipei Biennial (with Vasif Kortun); Biennale Cuvee in 2009 (the OK Center for Contemporary Art, Linz); Forum Biennial of Taiwanese Contemporary Art in 2010 (Taipei Contemporary Art Centre); “The South: an Art of Asking and Listening” (2017, Kaohsiung Museum of Fine Arts); “Autosrada Biennale: The Future of Borders” (2017, Prizren, Kosovo); “Herbal Urbanism: An artistic project on cosmopolitics” (2018, Hong Gah Museum, Taipei); “When Kacalisian culture meets wth vertical city: Greater Sandimen Contemporary Art” (Feb. 2019, Sun Yat-sen Memorial Hall, Taipei; May 2019, Taiwan Aboriginal Culture Park, Pingtung).
Manray has served as juror for Venice Biennale (2001), Istanbul Biennial (2001), Hermes Art Award for Korean Contemporary Art (2007), Hugo Boss Asian Art Award (2012), etc.
Habib William Kherbek is the writer of the novels Ecology of Secrets(Arcadia Missa, 2013) and ULTRALIFE(Arcadia Missa, 2016) and New Adventures (left gallery, 2020) and the forthcoming Best Practices (Moist Books 2021). His video-poem playlist/collection/reading retrodiction (2016) was released by left gallery, other poetry collections include Everyday Luxuries (Arcadia Missa, 2018) and 26 Ideologies for Aspiring Ideologists (If a Leaf Falls Press, 2018). His essay “Technofeudalism and the Tragedy of the Commons” (2016) appeared in the first issue of Doggerland’s journal, and he has contributed essays to the “Intersubjectivity” series from Sternberg Press. His journalism has appeared in the award-winning Block Magazine, Rhizome.org, Berlin Art Link, MAP, Flash Art, Spike Magazine, Sleek, Samizdat, AQNB and other publications.
Kherbek is presently completing a research fellowship in the Critical Studies department of the Sandberg Institute in Amsterdam.
Rosalyn D’Mello grew up as a ‘Bombay-Goan’ in Mumbai. She spent the last decade in New Delhi before moving to South Tyrol in the Italian Alps in 2020. As a freelancer, she has performed various callings as a third-world feminist writer, art critic, essayist, columnist, researcher, and editor.
Her debut memoir, A Handbook for my Lover was published by HarperCollins India in 2015 to critical acclaim while her art criticism has been published in a range of international anthologies, magazines and newspapers.
Since 2016, she has been writing a weekly feminist column for mid-day exploring domestic itinerancy, political activism and life-writing. Her fortnightly columns for STIR synthesise memoir and art criticism. She is a TBA 21 Ocean Fellowship mentor (2021) and is the recipient of an India Foundation for the Arts art research grant, which has supported her forthcoming book for Oxford University Press on South Asian artistic studio practice.
She is presently working on the sequel to her debut memoir, an autobiographical treatise on metabolic living, female mysticism, housewifely artistic legacies and feminist jouissance.
In his videos, photographies and installations, Niklas Goldbach is involved in the relation between architecture and necropolitics within modern traditions and postmodern cities. Established between reality and fiction, Goldbach’s works use architectural concepts and elements to create ambiguous perceptions of man-made environments.
He presented his works in numerous solo shows, group exhibitions, and festivals in venues such as the Museum der Moderne, Salzburg, Museo Reina Sofia, Madrid, Mori-Art Museum, Tokyo, Neuer Berliner Kunstverein n.b.k., documenta 14 public programs, Berlinische Galerie – Museum of Modern Art Berlin, Cornerhouse, Manchester, National Taiwan Museum of Fine Arts, Centre Pompidou, Paris, Houston FotoFest Biennial, Bergen Assembly, Württembergischen Kunstverein Stuttgart and the Short Film Festival Oberhausen.
Adrian Melis (Havana, Cuba,1985) takes as his starting point current socio economic circumstances in Cuba as well as in Europe and considers how the shifting status quo affects the lives of individuals and furthermore the ways in which societies operate within their framework. Drawing from issues of unemployment, bureaucratic inefficiency, corporate as well as political corruption he creates mechanisms in which third parties’ experiences and stories are integrated in the production or execution of his work. His methodology instills within the works ironic and absurd qualities, meanwhile allowing for elements of absence, either formal or symbolic to manifest. Inspired by the lack of motivation and productivity in Cuba, Melis also experiments with creating feasible temporary employment opportunities both at home and in Europe.