凱特琳·威爾(Kathryn Weir)法國龐畢度中心文化發展部總監,執導的展覽與計畫跨越當代藝術、電影、舞蹈、表演、視覺文化和當代藝術思潮等領域。她目前正在籌劃首屆「Cosmopolis」兩年平台計畫,預計於2017年10月在龐畢度中心發表;同時也在籌備2017年6月即將啟動的新年度活動「動:表演/舞蹈/動態影像」。由她策劃的展覽包含「特蕾西·莫法特:活躍」(2014-15)、「昇華,通往永恆的道路」(2014-15)、「港式武俠片」(2013)、「山水:30年代以來的中國動畫」(2012-13)、「雕塑是一切」(2012)、「輕與重」(2012)、「21世紀:藝術第一個十年」(2010-11)、「皮耶·保羅·帕索里尼:我們都危險」(2010)、「柏樹與烏鴉:伊朗動畫50年(2009-10)、「小動作」(2009)、「現代廢墟」(2008)、「有閒階級」(2007-08)、「香港,上海:電影城市」(2007)、「野獸之吻」(2005-6)、「自然機器: 當代藝術、自然與科技」(2004-5)、「《Video Hits》:藝術和音樂影片」(2004)。在2006年到2013年間,她曾擔任第五屆、第六屆與第七屆亞太當代藝術三年展的策展委員。


盧卡娜‧庫娜維嘉儂(Luckana Kunavichayanont)盧卡娜自 2011 年起擔任泰國曼谷藝術文化中心 (BACC) 的總監,一直以來BACC 便是十分活躍的平台,展示泰國、國際現代和當代多元藝術領域,包含視覺藝術、表演藝術、影像、建築和設計。BACC 致力於提倡反映泰國社會活力和多元性的藝術文化活動。而在盧卡娜擔任 BACC 總監之前,她曾於 1990 年代中期至 2003 年為塔都當代藝術 (Tadu Contemporary Art) 的藝術總監,期間策劃多檔泰國新生代藝術家的展覽。她也曾任2005 年威尼斯雙年展泰國館的聯合策展人。Kunavichayanont has served as Director of Bangkok Art and Culture Centre (BACC), Thailand, since 2011. BACC has been an active platform for the showcase of Thai and international modern and contemporary art in various disciplines, including visual arts, performing arts, films, architecture and designs. It has vigorously promoted art and cultural activities that reflect vibrancy and diversity in Thai society. Prior to her directorship at BACC, from the mid-1990s to 2003, she was Artistic Director at Tadu Contemporary Art, curating many exhibitions of emerging Thai artists. She co-curated for the Thai Pavilion at the 2005 Venice Biennale.


瑪莉.佛爾Marie Fol) 瑪莉負責管理Mobility & Advice團隊,主要目標為提供藝術家、組織和外交部門如何參與國際文化活動的知識與資訊。瑪莉以前是TransArtists.org的編輯,2012年到2016年《你的國際藝術進駐導引》,她也協調了歐洲合作企劃(2010年到2012年)和綠色藝術聯盟(2013年到2015年),在2010年到2015年的期間,瑪莉與歐洲 On The Move 移動網密切合作,促成了網站及出版物,如:2012年的《 動起來!給初學者的文化流動》 。瑪莉也是DutchCulture管理團隊的一份子並且也擔任紐西蘭創意歐洲辦公室的總監。2015年參與國際藝術村交流雙年會的諮詢委員會,2017年參與歐洲 On The Move 移動網的委員會。
Marie Fol runs the team Mobility & Advice, which aims to provide artists, organisations and the diplomatic sector with knowledge and information on how to take part in international cultural activities. In the past, Marie was editor of TransArtists.org , “your artist-in-residence guide worldwide” (2012-2016) and she coordinated the European cooperation projects ON-AiR (2010-2012) and Green Art Lab Alliance (2013-2015). Between 2010 and 2015, Marie worked closely with the cultural mobility information network On the Move, contributing to its website and publications such as “Move On! Cultural Mobility for Beginners” (2012).
Marie is part of the management team of DutchCulture, and head of the Creative Europe desk NL. Marie also joined the advisory board of TransCultural Exchange in 2015 and the board on On the Move in 2017.


瑪莉·勒素Marie Le Sourd) 曾於 1999 至 2006 年間駐新加坡在歐亞基金會文化部門工作,此外她也於 2001 年至 2006 年間駐印尼日惹擔任法國文化協會總監。瑪莉·勒素多年來致力於扶植國際文化合作的知識平台,希望為藝術家、文化專業人員、網絡以及網路資源的流動性爭取更多補助計畫。總體來說,她對藝術家及文化專業人員流動性的各項影響非常感興趣。除了 On the Move,瑪莉·勒素也促成其他的組織及網絡,像是 IN SITU這類歐洲的公共空間藝術創作平台 。
Marie Le Sourd is since 2012 the Secretary General of On the Move, the cultural mobility information network active in Europe and worldwide. Prior to this position, Marie Le Sourd worked in Singapore for the Asia-Europe Foundation (Cultural Department) from 1999 till 2006 and directed the French Cultural Centre in Yogyakarta-Indonesia from 2006 till 2011. Marie Le Sourd has over the years nurtured a knowledge pool on international cultural cooperation, funding schemes for the mobility of artists and cultural professionals, networks and web-resources. She is overall interested in the multiple impacts of mobility on artists and cultural professionals. Beyond On the Move, Marie Le Sourd contributes to other organisations and networks, including IN SITU, the European platform for artistic creation in public space.


派翠克·弗洛雷斯(Patrick D. Flores)2000年曾參與策展「建構進行中:亞洲藝術新角度」及2008年光州雙年展「立場文件」。1999年和2004年他分別擔任華盛頓特區國家藝廊的訪問研究員及亞洲公共知識份子學人。出版著作《繪畫歷史:重塑菲律賓殖民藝術》(1999)、《非凡的收藏:藝術、歷史與國家博物館》(2006)、《過去的邊緣:策展於東南亞》(2008)。2010年曾獲亞洲文化協會獎助;隔年擔任卡爾斯魯厄藝術與媒體中心舉辦之展覽「全球當代:1989後的藝術世界」(2011)的顧問委員會成員,以及古根漢美術館亞洲藝術協會委員(2011至2014);同年,與奇廷泫共同為《第三文本》雜誌編輯東南亞專輯(2011)。2013年他獲邀代表菲律賓克拉克學院和菲律賓大學藝術學系在馬尼拉召開「東南亞藝術史發展」研討會;他也曾擔任洛杉磯蓋提研究所客座學者(2014年)。他在2015年威尼斯雙年展中,除了策畫有關東南亞和東南歐當代藝術的展覽「西南偏南」,也擔任菲律賓館的策展人。
Patrick D. Flores is Professor of Art Studies at the Department of Art Studies at the University of the Philippines, which he chaired from 1997 to 2003, and Curator of the Vargas Museum in Manila. He was one of the curators of Under Construction: New Dimensions in Asian Art in 2000 and the Gwangju Biennale (Position Papers) in 2008. He was a Visiting Fellow at the National Gallery of Art in Washington, D.C. in 1999 and an Asian Public Intellectuals Fellow in 2004. Among his publications are Painting History: Revisions in Philippine Colonial Art (1999); Remarkable Collection: Art, History, and the National Museum (2006); and Past Peripheral: Curation in Southeast Asia (2008). He was a grantee of the Asian Cultural Council (2010) and a member of the Advisory Board of the exhibition The Global Contemporary: Art Worlds After 1989 (2011) organized by the Center for Art and Media in Karlsruhe and member of the Guggenheim Museum’s Asian Art Council (2011 and 2014). He co-edited the Southeast Asian issue with Joan Kee for Third Text (2011). He convened in 2013 on behalf of the Clark Institute and the Department of Art Studies of the University of the Philippines the conference “Histories of Art History in Southeast Asia” in Manila. He was a Guest Scholar of the Getty Research Institute in Los Angeles in 2014. He curated an exhibition of contemporary art from Southeast Asia and Southeast Europe titled South by Southeast and the Philippine Pavilion at the Venice Biennale in 2015.