2026 Foundwork Artist Prize

2026 Foundwork Artist Prize is sponsored by Foundwork. The Foundwork Artist Prize is an annual juried award to recognize outstanding artistic practices in any media, offering an unrestricted solo grant.

Our annual juried award to support outstanding artistic practices ### 2026 Registration Deadline: 5 pm PT, September 25th **This year's honoree will receive an unrestricted $10,000 grant, studio visits with each of our five jurors, and an interview for our Dialogues program. ** **Three artists will be named to the 2026 Short List and each will receive a $1,000 micro-grant in support of their practice.

** The jury for the 2026 Foundwork Artist Prize welcomes five eminent curators and gallerists based in New York, Berlin, Rotterdam, Guatemala City, and Los Angeles: Stefan Benchoam is an artist and exhibition-maker from Guatemala City with a strong interest in collaboration.

As an artist, he has participated in exhibitions La Casa Encendida, Madrid; The White Cubicle Toilet Gallery, London; La Loseta, San Juan; LACMA, Los Angeles; MAZ, Guadalajara; and MADC, San José, among others. He is co-founder of Buró de Intervenciones Públicas, which develops low-cost, high-impact projects in public spaces worldwide.

He is also co-founder and director of Proyectos Ultravioleta, a multivalent hybrid space/gallery for contemporary art, and is co-founder/co-director of NuMu—Guatemala's only contemporary art museum. As a writer, he has written for Mousse Magazine and South as a State of Mind, as well as artist monographs including Carlos Amorales and Vivian Suter.

Originally from France, François Ghebaly established his namesake contemporary art gallery in Los Angeles in 2009, later expanding to New York. Over fifteen years, he has become a pivotal figure in the global art landscape, championing a progressive, multi-generational roster across painting, sculpture, installation, and video.

Ghebaly is widely respected for his keen eye and commitment to nurturing experimental voices during the foundational stages of their careers. He has consistently launched emerging talents into international prominence and institutional acclaim. Notable figures who came up through the gallery include Andra Ursuța, Kathleen Ryan, Kelly Akashi, Meriem Bennani, Sayre Gomez, Candice Lin, Neïl Beloufa, and Christine Sun Kim.

Today, Ghebaly’s spaces remain essential global hubs for boundary-pushing contemporary art. Manuela Moscoso is the inaugural Executive and Artistic Director of the Center for Art, Research and Alliances (CARA) and curator of Ecuador's national pavilion at the 61st International Art Exhibition - La Biennale di Venezia (2026).

She was formerly Curator of the 2ª Bienal das Amazônias (2025), the Liverpool Biennial (2021), and a senior curator at Museo Tamayo in Mexico City. Moscoso's practice spans exhibition-making, publishing, and writing, with a focus on relational, political, and embodied approaches to contemporary art and institutions. Gabi Ngcobo is the Director of Kunstinstituut Melly in Rotterdam.

Between 2020 and 2023, she was Curatorial Director at the Javett Art Centre at the University of Pretoria (Javett-UP) where she curated “Handle with Care” (2021), “SCENORAMA” (2022) and, in 2023, “Frequencies” by Oscar Murillo and “Specifications for a Reverse Archaeology” with Nolan Oswald Dennis.

Ngcobo has worked on independent curatorial projects, collaborated with various institutions in different parts of the world and, for seven years, lectured at the Wits School of Arts in Johannesburg. In 2022, she curated “The Show is Over” at the South London Gallery and co-curated “The ‘t’ is Silent” at the Museum Dhondt-Dhaenes in Deurle, Belgium.

Ngcobo also curated the 10th Berlin Biennale (2018) and was one of the co-curators of the 32nd Sao Paulo Bienal (2016). Esther Schipper founded her gallery in Cologne in 1989, relocating to Berlin in 1997. Conceptual art from around the world, featuring radically experimental and time-based works, formed the core of her gallery's early program.

Today Esther Schipper's gallery represents over 50 artists and estates, with a diverse range of international artists, established figures, and emerging talents practicing in various media. Esther Schipper opened a company in Korea in 2017 and a public gallery in Seoul in 2022, as well as a gallery location in Paris on Place Vendôme the same year. Since 2024, the gallery also operates an office and showroom in New York.

The Foundwork Artist Prize is our annual juried award to recognize outstanding emerging and mid-career artists working in any media. Honorees receive unrestricted $10,000 grants, interviews in our Dialogues program, and studio visits with our jurors who include esteemed curators, gallerists, and artists.

In addition to the honoree, three artists per year are named to our Short List and each receives a $1,000 micro-grant in support of their practice. The Prize is open to artists worldwide with limited exceptions and our annual selection process takes place each fall. Register here and see the "Foundwork Artist Prize" section in our FAQ for instructions on eligibility and how to participate.

Centering around recording, translation, and the potential of the photographic medium, her practice is interested in how images and materials are alchemically transformed through technology and the hand.

Unique photochemical paintings on silver gelatin paper, silver gelatin prints, powder coated aluminum, patinated cast bronze and ceramic relief in aluminum frame (9 panels) Unique photochemical paintings on silver gelatin paper, silver gelatin prints, powder coated aluminum, patinated cast bronze and ceramic relief in aluminum frame (9 panels) Antonia Kuo is an interdisciplinary artist who lives and works in New York, NY.

Kuo’s practice centers around recording, translation, and the potential of the photographic medium. She is interested in how images and materials are alchemically transformed through technology and the hand, and how seemingly unquantifiable sources like light can be converted and shaped into image.

Working with transmutative materials and processes, she is able to collaborate with active modes of becoming, chance operations, and the unknown. Kuo received an MFA from Yale University, her BFA from School of Fine Arts Boston and Tufts University, and a one-year certificate from the School of the International Center of Photography.

Her work has been exhibited at Chapter NY, James Cohan, and the Whitney Museum of American Art, New York; Centre Pompidou, Paris; Project Native Informant, London; Adams and Ollman, Portland; the Frye Art Museum, Seattle; Each Modern, Taipei; and the Metropolitan Museum of Manila, PH, among others. Kuo has been an artist-in-residence at Mass MoCA, Vermont Studio Center, The Banff Centre, and was a MacDowell Colony Fellow.

Her work is included in the collections of the Whitney Museum of American Art, Centre Pompidou, the Frye Art Museum, and the Museum of Modern and Contemporary Art in Nusantara, Indonesia. _Solar Array_, 2025 Unique photochemical painting on light-sensitive silver gelatin paper, x-rays, photogram on silver gelatin paper (4 panels) 91 3/4 x 103 x 2 in.

_Behemoth_, 2023 Unique photochemical painting on light-sensitive silver gelatin paper in aluminum frame (diptych) 93 x 81 x 2 in. _Milk of the Earth (Array)_, 2025 Unique photochemical paintings on light-sensitive silver gelatin paper in aluminum frames, welded steel, hydrocal plaster, CRT video monitors with foundry footage 120 x 120 x 12 in.

2:54 Eugene Jung is an artist based in New York and Seoul who builds post-apocalyptic environments that respond to contemporary catastrophes through sculpture and installation. At times, cartoonish worldviews are added to the landscape of ruins to construct an alternative reality. In doing so, she contemplates how the media and popular culture consume and sense disasters as images.

The artist’s use of pseudo-real materials suggests a complex relationship between reality and artwork. Her work has been shown at the Busan Biennale in Busan; Thaddaeus Ropac, Museumhead, Art Sonje Center Art Hall, Arko Art Center, DOOSAN Gallery, and AVP Lab in Seoul; and the Hessel Museum of Art in New York. She was also named to the 2025 Forbes 30 Under 30 Asia list.

Gozié Ojini was born in Los Angeles and lives and works in New Haven, CT. He holds an MFA from Yale University’s Sculpture Program, a BA from the School of Art and Architecture at UCLA, and attended Skowhegan School of Painting and Sculpture in Madison, ME. He was recently included in “Alice Coltrane: Monument Eternal” at the Hammer Museum, Los Angeles (2025).

He has had solo exhibitions at Silke Lindner, New York (2024) and In Lieu, Los Angeles (2023), and has been included in various group exhibitions, among them “Stitious” at Michael Benevento, Los Angeles (2025), “After Hours” at the Kiang Malingue, New York (2025), and “Polyphonic Views” at Funkhaus, Berlin (2025), among others.

Umico Niwa explores the constraints and possibilities of personhood through installation, drawing, and sculptures. The resulting works speak to a deep, palpable longing for transcendence—a desire for self-actualization not confined by conventional identity markers. Niwa lives between the US and Japan, and a major installation is currently on view at the Sculpture Center, NY and will travel to Museo Tamayo, Mexico City in 2026.

Her work has been exhibited at institutions such as: The Asia Society, Houston; Public Gallery, London; Towada Art Center, Japan; Someday, NY; Simon Subal, NY; Kristina Kite, LA, and Miriam, NY. She was a resident at the Houston Museum of Fine Arts (2023–25) and the Bemis Center for Contemporary Art, Omaha, NE (2022). Her work will be the subject of a solo exhibition at ILY2 in Portland, OR in spring 2026.

_WOW (Waves of Wreckage)_, 2024 Broken temporary walls, malfunctioning drones, MDF plywoods, cement, stainless steel pipes, and other mixed materials Roland SP404, Altered furniture, pots, glass, snare drum, tripods, speakers, subwoofer, transducer, amplifiers.

_Architectural Memory Series: Opium Dendrite_, 2025 Foraged organic matter, electroplated copper Eugene Jung is an artist based in New York and Seoul who builds post-apocalyptic environments that respond to contemporary catastrophes through sculpture and installation. At times, cartoonish worldviews are added to the landscape of ruins to construct an alternative reality.

In doing so, she contemplates how the media and popular culture consume and sense disasters as images. The artist’s use of pseudo-real materials suggests a complex relationship between reality and artwork. Her work has been shown at the Busan Biennale in Busan; Thaddaeus Ropac, Museumhead, Art Sonje Center Art Hall, Arko Art Center, DOOSAN Gallery, and AVP Lab in Seoul; and the Hessel Museum of Art in New York.

She was also named to the 2025 Forbes 30 Under 30 Asia list. _WOW (Waves of Wreckage)_, 2024 Broken temporary walls, malfunctioning drones, MDF plywoods, cement, stainless steel pipes, and other mixed materials Gozié Ojini was born in Los Angeles and lives and works in New Haven, CT.

He holds an MFA from Yale University’s Sculpture Program, a BA from the School of Art and Architecture at UCLA, and attended Skowhegan School of Painting and Sculpture in Madison, ME. He was recently included in “Alice Coltrane: Monument Eternal” at the Hammer Museum, Los Angeles (2025).

He has had solo exhibitions at Silke Lindner, New York (2024) and In Lieu, Los Angeles (2023), and has been included in various group exhibitions, among them “Stitious” at Michael Benevento, Los Angeles (2025), “After Hours” at the Kiang Malingue, New York (2025), and “Polyphonic Views” at Funkhaus, Berlin (2025), among others.

Roland SP404, Altered furniture, pots, glass, snare drum, tripods, speakers, subwoofer, transducer, amplifiers. Umico Niwa explores the constraints and possibilities of personhood through installation, drawing, and sculptures. The resulting works speak to a deep, palpable longing for transcendence—a desire for self-actualization not confined by conventional identity markers.

Niwa lives between the US and Japan, and a major installation is currently on view at the Sculpture Center, NY and will travel to Museo Tamayo, Mexico City in 2026. Her work has been exhibited at institutions such as: The Asia Society, Houston; Public Gallery, London; Towada Art Center, Japan; Someday, NY; Simon Subal, NY; Kristina Kite, LA, and Miriam, NY.

She was a resident at the Houston Museum of Fine Arts (2023–25) and the Bemis Center for Contemporary Art, Omaha, NE (2022). Her work will be the subject of a solo exhibition at ILY2 in Portland, OR in spring 2026.

_Architectural Memory Series: Opium Dendrite_, 2025 Foraged organic matter, electroplated copper The jury for the 2025 Foundwork Artist Prize includes highly acclaimed and visionary voices hailing from New York, Los Angeles, Boston, London, and Paris: Ebony L. Haynes is a writer and curator from Toronto, Canada.

She is presently based in New York where she is senior director at David Zwirner and leads the gallery’s 52 Walker space in Tribeca. Haynes sits on the boards of Artists Space and the New Art Dealers Alliance. She also runs Black Art Sessions, an online “school” that offers free professional practice classes to Black students worldwide.

Carmen Hermo is the Lorraine and Alan Bressler Curator of Contemporary Art at the MFA Boston, and co-curated “Rituals for Remembering: María Magdalena Campos-Pons” and “Ana Mendieta and Counter History: Contemporary Art from the Collection.

” Previously, she was Associate Curator for the Brooklyn Museum’s Center for Feminist Art, where she curated “María Magdalena Campos-Pons: Behold” (2023–25), “Baseera Khan: I Am an Archive” (2021), and formed part of the curatorial collective for “Nobody Promised You Tomorrow: Art 50 Years After Stonewall” (2019), among other projects.

She has also worked as Assistant Curator for Collections at the Guggenheim Museum, and with the collections of the Whitney Museum of American Art and the Museum of Modern Art. She holds an MA in art history from Hunter College. Lauren Mackler is an independent curator, writer, and designer based in Los Angeles.

She has organized exhibitions and catalogues for MOCA LA, the Hammer Museum, MCA Chicago, Frieze Projects, Artissima, the MAK Center, MoMA PS1, and more. She co-organized the “Made in L. A.

2020” biennial at the Hammer and The Huntington, has been on faculty at Art Center, SVA, UCLA, and Otis, and served as managing editor of Sublevel, CalArts’ literary magazine. Her writing has appeared in Artforum, Frieze, BOMB, Flash Art, Numéro, and others. She is co-editor of the forthcoming Propiedad Privada, published by Semiotext(e) and ISLAA.

In 2010, she founded Public Fiction, a forum for staging exhibitions, performances, and programs by contemporary artists and writers, as well as a journal in print. Antonia Marsh founded Soft Opening in 2018, following her work as an independent curator. The gallery’s early space was a glass-fronted vitrine in Piccadilly Circus Underground Station that focused largely on site-specific curated projects.

Now located in Cambridge Heath, Soft Opening represents fourteen emerging to mid-career artists, based in the UK and internationally, working closely with them to develop exhibitions and projects both at the gallery in London and elsewhere. With an emphasis on production and publications, Soft Opening takes an active role in supporting the development of new artist projects both on- and offsite wherever possible.

Hugo Vitrani is a curator at the Palais de Tokyo, where he co-created the performance program Symbiosis. He has curated group exhibitions such as “All in the Name of the Name” (2024, with Les Rencontres d’Arles), “Il morso delle termiti” (2023), “Foudre Sentimentale” (2022), “Jusqu’ici tout va bien” (2020), and “Prince·sses des Villes” (2019), and he initiated the Lasco Project (2012–2022).

He curated solo exhibitions by artists including RAMMELLZEE (2025), Mohamed Bourouissa (2023), Jay Ramier (2022), and Maxwell Alexandre (2022). Since 2024, he has contributed to the visual direction of the intellectual review AOC. With the Palais de Tokyo, he co-curated the 15th edition of Nuit Blanche (2016), the 15th Lyon Biennale (2019) and Anticorps (2020).

Working independently, he curated “Partenaires Particulaires” (CAB Foundation, 2025), “Echosystems” (a tribute to Virgil Abloh, Galerie Kreo, 2023), and “L’esprit souterrain” (Domaine Vranken-Pommery, 2018). He is the co-author of several books and catalogs, including Woman Life Freedom – An Iranian Revolution (2023, ed. Beaux-Arts de Paris).

Beginning with the understanding that most Indigenous cultures are existing in a post-apocalyptic reality, she approaches the act of building sculpture as a kind of prayer.

Scanned archival photos on cardboard substrate, scanned card given to artist on her 4th birthday, weaving yarn, scrap wood, staples, pigment, crayon, wax, beads, pipe cleaners, plaster, rain water from the Great Basin in nevada, journal entry from august 2023 Scanned archival photos on cardboard substrate, scanned card given to artist on her 4th birthday, weaving yarn, scrap wood, staples, pigment, crayon, wax, beads, pipe cleaners, plaster, rain water from the Great Basin in nevada, journal entry from august 2023 Satpreet Kahlon is a Panjabi-born artist, organizer, and educator based in Brooklyn, NY.

Her practice is concerned with illegibility, inscrutability, and collapse. Beginning with the understanding that most Indigenous cultures are existing in a post-apocalyptic reality, she approaches the act of building sculpture as a kind of prayer: a futile attempt to communicate with and better know generations of lost, unknowable histories; an endlessly looping signal without reply.

Kahlon received her MFA in sculpture from the Rhode Island School of Design. In addition to her studio practice, which has been featured in Hyperallergic and Artforum, she co-founded an Indigenous arts organization that supported 400 artists with over $2m of opportunities and rematriated 1. 5 acres of greenspace that was slated for development during her tenure from 2017-2023.

For this work, she was named one of the Most Influential People in Seattle by Seattle Magazine in 2019 and was a 2022 Roddenberry Fellow for “innovative strategies to safeguard human rights and ensure an equal and just society for all. ” Kahlon’s practice has been supported by The National Endowment of the Arts, the Foundation for Contemporary Arts, The Rauschenberg Foundation, and Critical Minded.

She has had recent exhibitions at the Wing Luke Museum, the Bellevue Arts Museum, and Brown University. **Read our Dialogues conversation with Kahlon and curator Maurin Dietrich, who is the current director of Kunstverein München in Munich. ** _from all of us_, 2023 (detail view).

Scanned archival photos on cardboard substrate, scanned card given to artist on her 4th birthday, weaving yarn, scrap wood, staples, pigment, crayon, wax, beads, pipe cleaners, plaster, rain water from the Great Basin in nevada, journal entry from august 2023 45 x 60 x 7 in. _Polyester diamond quilted fabric fabricated in China (after Kalf's Still Life with a Chinese Bowl, Nautilus Cup and Other Objects)_, 2022.

Image transfer on handmade reclaimed cardboard substrate, reclaimed wood, staples, polyester diamond quilted fabric collected from recycling plant in Seattle in July 2022. 45 x 26 1/2 x 38 in. _obscured, repeated_, 2023.

Scanned archival photos on cardboard substrate, weaving yarn, scrap wood, staples, pigment, crayon, wax, beads, pipe cleaners, plaster, rain water collected from The Great Basin, embroidery materials. 50 x 30 x 4 in. Adam Farah-Saad is a London, UK-born multidisciplinary artist and lecturer whose practice spans photography, sculpture, installation, moving image, writing, and performative gestures.

Grounded in the spiritual, emotional, and geographical textures of urban life, his work often weaves together seductive aesthetic assemblages, opening up spaces for critical and sincere reflection and connection. Through these spaces, he explores what it means to love, grow, and survive as a human.

Farah-Saad recontextualizes images, objects, and narratives to reveal their sensual and affective dimensions, paying homage to the layered connections of city life. Drawing from the creative energy of communities that shaped him—from the council estates to the gay bars—he invites audiences to rethink their relationships with cultural and spatial dynamics, expanding their aesthetic and emotional experiences.

Minne Kersten is an artist based between Paris and Amsterdam, working on video, installation and paintings. Through her architectural environments, she speculates how buildings can be receptive to stories and traumas, as she stages situations subjected to chaos, decay, and deconstruction.

Working across diverse media, she interweaves personal experiences such as mourning, loss, and memory with the collective domain of fiction, fables, and symbols.

Her work has been exhibited internationally, including at CAPC Musée Bordeaux 2024, Glasgow International 2024, Bonnefanten Museum 2023, 16th Lyon Biennale 2022, Stedelijk Museum Schiedam 2022, the Living Art Museum 2022, Hotel Maria Kapel 2021, HISK Brussel 2021, Haus Wien 2021, De Ateliers 2020, among others. In 2022, she was awarded the Volkskrant Visual Arts Audience Award and was nominated for the Royal Award of Modern Painting.

She participated in residencies at De Ateliers, Triangle Astérides, and Cité Internationale des Arts and is represented by Annet Gelink Gallery in Amsterdam. Joyce Joumaa (she/her) is a visual artist working between Beirut, Montreal, and Amsterdam. After growing up in Tripoli, Lebanon she pursued her studies in Film at Concordia University.

Working primarily with video, Joumaa’s work engages with histories shaped by conflict and crisis while specifically investigating the phenomenology of political performance, often rooted in her native Lebanon or diasporic experiences.

Through documentary and experimental filmmaking, archival research, and photography, her practice attempts to create narratives that reimagine our relationship to past events, historical figures, or emblematic sites, examining how they continue to act upon us in the present.

Joumaa has exhibited at the Montreal Museum of Fine Art, E-flux screening room, Galerie Stewart Hall, the Sharjah Architecture Triennial, the 60th Venice Biennial, and the 35th edition of Ljubljana Biennale of Graphic Arts. Recent solo exhibitions have been held at the Canadian Centre for Architecture, Plein Sud Centre D’exposition, and Eli Kerr Gallery.

She is the recipient of the Hnatyshyn Foundation Prize for Emerging Artists and the 2023 Plein Sud award. Steel powder coated fountain, steel powder coated pull up bars, koshi wind chimes, brass chains, poppers bottles, digital print on mesh fabric, steel park benches, gravel _Where I'm Calling From_, 2024 Installation, wood, silkscreen wallpaper, furniture, carpet, books, lights, clothes, personal items. 134 x 189 x 110 in.

_Mutable Cycles II, Install Views_, 2024 Adam Farah-Saad is a London, UK-born multidisciplinary artist and lecturer whose practice spans photography, sculpture, installation, moving image, writing, and performative gestures. Grounded in the spiritual, emotional, and geographical textures of urban life, his work often weaves together seductive aesthetic assemblages, opening up spaces for critical and sincere reflection and connection.

Through these spaces, he explores what it means to love, grow, and survive as a human. Farah-Saad recontextualizes images, objects, and narratives to reveal their sensual and affective dimensions, paying homage to the layered connections of city life.

Drawing from the creative energy of communities that shaped him—from the council estates to the gay bars—he invites audiences to rethink their relationships with cultural and spatial dynamics, expanding their aesthetic and emotional experiences.

Steel powder coated fountain, steel powder coated pull up bars, koshi wind chimes, brass chains, poppers bottles, digital print on mesh fabric, steel park benches, gravel Minne Kersten is an artist based between Paris and Amsterdam, working on video, installation and paintings.

Through her architectural environments, she speculates how buildings can be receptive to stories and traumas, as she stages situations subjected to chaos, decay, and deconstruction. Working across diverse media, she interweaves personal experiences such as mourning, loss, and memory with the collective domain of fiction, fables, and symbols.

Her work has been exhibited internationally, including at CAPC Musée Bordeaux 2024, Glasgow International 2024, Bonnefanten Museum 2023, 16th Lyon Biennale 2022, Stedelijk Museum Schiedam 2022, the Living Art Museum 2022, Hotel Maria Kapel 2021, HISK Brussel 2021, Haus Wien 2021, De Ateliers 2020, among others. In 2022, she was awarded the Volkskrant Visual Arts Audience Award and was nominated for the Royal Award of Modern Painting.

She participated in residencies at De Ateliers, Triangle Astérides, and Cité Internationale des Arts and is represented by Annet Gelink Gallery in Amsterdam. _Where I'm Calling From_, 2024 Installation, wood, silkscreen wallpaper, furniture, carpet, books, lights, clothes, personal items. 134 x 189 x 110 in.

Joyce Joumaa (she/her) is a visual artist working between Beirut, Montreal, and Amsterdam. After growing up in Tripoli, Lebanon she pursued her studies in Film at Concordia University. Working primarily with video, Joumaa’s work engages with histories shaped by conflict and crisis while specifically investigating the phenomenology of political performance, often rooted in her native Lebanon or diasporic experiences.

Through documentary and experimental filmmaking, archival research, and photography, her practice attempts to create narratives that reimagine our relationship to past events, historical figures, or emblematic sites, examining how they continue to act upon us in the present.

Joumaa has exhibited at the Montreal Museum of Fine Art, E-flux screening room, Galerie Stewart Hall, the Sharjah Architecture Triennial, the 60th Venice Biennial, and the 35th edition of Ljubljana Biennale of Graphic Arts. Recent solo exhibitions have been held at the Canadian Centre for Architecture, Plein Sud Centre D’exposition, and Eli Kerr Gallery.

She is the recipient of the Hnatyshyn Foundation Prize for Emerging Artists and the 2023 Plein Sud award. _Mutable Cycles II, Install Views_, 2024 Our 2024 jury includes acclaimed curators, gallerists, and artists based in Hong Kong, London, New York, Basel, Richmond, and Abidjan: Olivia Aherne is a curator based in the UK, currently holding the position of Curator at Chisenhale Gallery in London.

Aherne previously worked as Curator at Nottingham Contemporary, and has also developed projects for Department of Love (2019–2023), Nir Altman, Munich (2020); Art Night, London (2019); SAFA, Shanghai; and LUX, London (2018). In 2018, she was awarded the NEON Curatorial Award in partnership with the Whitechapel Gallery and participated in the inaugural Shanghai Biennial Curator’s Lab.

She writes for publications including Art Monthly and Mousse, and is a visiting tutor on the MFA in Fine Art at Goldsmiths, University of London. Mohamed Almusibli is Director and Curator of Kunsthalle Basel. Before assuming his current role in March 2024, Almusibli served as cofounder and curator of the independently-operated art space Cherish in Geneva.

His curatorial work is characterized by a sensitive engagement with contemporary artistic positions. He has demonstrated a close connection to artists of our time, an innovative perspective on the use of new technologies, and a keen interest in bridging the local and international art scenes.

Lorraine Kiang, who has previous work experience with Christie’s New York and Hong Kong, cofounded the Hong Kong gallery Kiang Malingue with Edouard Malingue in 2010. In 2016, Kiang Malingue opened its second space in West Bund, Shanghai, and closed in 2019 due to the pandemic; it currently has three exhibition spaces in Hong Kong.

Lorraine spearheaded Condo Shanghai in 2018, collaborating and bridging between local and international galleries. She has been part of the Organising Committee of the International Galleries Alliance since 2020, in an effort to create community amongst galleries globally.

Rachel Uffner launched her eponymous gallery in 2008 in New York City’s Lower East Side, dedicated to supporting multi-generational artists working in a variety of mediums. Over the past 15 years, while expanding several times, Rachel Uffner Gallery has established itself as a vital platform for introducing new artists’ voices, championing female artists, and nurturing significant international careers.

Monsieur Zohore is an Ivorian-American artist whose practice investigates the nature of consumption and digestion by conflating domestic quotidian life and labor practices with artistic production.

Through performance, painting, video, installation, and sculpture, Zohore draws from art historical and queer histories as well as popular culture and his Ivorian-American heritage, deploying systems of humor, economics, religion, and mourning. He received an MFA from the Maryland Institute College of Art and a BFA from The Cooper Union for the Advancement of Science and Art in New York.

He is currently Assistant Professor of Painting and Printmaking at Virginia Commonwealth University and lives and works between Richmond, New York City, and Abidjan, Côte d’Ivoire. Working through various physical and embodied mediums, Amani's practice interrogates the ways in which body erotics, language, and the mythical are used to situate (or isolate) the self within community.

_To Dismantle a House_, 2022 Installation and performance _To Dismantle a House_, 2022 Installation and performance Valerie Asiimwe Amani is a Tanzanian artist and writer. Working through various physical and embodied mediums, her practice interrogates the ways in which body erotics, language, and the mythical are used to situate (or isolate) the self within community.

She has exhibited internationally including a solo performance at South London Gallery with the Roberts Institute of Art, as well as group shows at Modern Art Oxford, The Zeitz Museum of Contemporary African Art (Cape Town), and Hauser & Wirth (London).

Amani is the recipient of the 2021 Ashmolean Museum Vivien Leigh Prize and the 2022 Ingram Prize, and her work has been featured in Art Monthly and Hyperallergic, among other publications. Amani holds an MFA from Oxford University’s Ruskin School of Art, where she is currently based while pursuing a practice-led PhD in Fine Art. **Read our Dialogues conversation with Amani and New York-based writer Daniella Brito here.

** _Mkutano // A Place for Us_, 2023. Textile, Copper, wood, video, text transfer on fabric and book. 314 x 157 x 196 in.

_The Weight of Small things_, 2023. Live performance with poetry and a soundscape. _Memory Portal I_, 2021.

Wood, felt, calico, tranfer printing, wax candle, ink and yarn. 80 x 80 x 25 in. Part of a body of work titled _A Confluence of Parts_.

Catalina Ouyang is a sculptor, writer, and interdisciplinary artist based in New York City. They have presented solo exhibitions at Lyles & King, New York, NY; No Place Gallery, Columbus, OH; Night Gallery, Los Angeles, CA; Make Room, Los Angeles, CA; and Knockdown Center, Queens, NY.

Their work has been included in group shows at the Institute of Contemporary Art at MECA&D, Portland, Maine; Aldrich Contemporary Art Museum, Ridgefield, CT; Kimball Art Center, Park City, UT; Jeffrey Deitch, New York and Los Angeles; Galerie Kandlhofer, Vienna, Austria; and Micki Meng, San Francisco, CA, among others. Ouyang is the recipient of numerous awards and grants, and was a 2020-21 Smack Mellon Artist in Residence.

Their work has been written about in publications including the New York Times, Flash Art, Frieze Magazine, Momus, and Artforum. Ouyang holds an MFA from Yale University. Sonia Almeida is an artist whose paintings, artist books, and textile works mine non-verbal forms of communication, symbolism, and abstraction.

By repeating a personal constellation of motifs to enact slippages in translation, she explores the ways in which shared cultural conditions and assimilation can splinter into plural realities, resulting in miscommunication and continuous efforts at interpretation. She received her MFA from the Slade School of Fine Art, University College London and BFA from the University of Lisbon.

She is a recipient of the 2015 Pollock-Krasner Foundation Grant and of the 2017 James and Audrey Foster Prize. Almeida is represented by Simone Subal Gallery in NYC and has exhibited extensively both nationally and internationally, including solo exhibitions hosted by Culturgest, Lisbon, Portugal (2023); Simone Subal