Gallery Weekend Art Talks

Beeple (b. Mike Winkelmann, 1981, Wisconsin) is an US-American artist known for his large-scale immersive installations and his long-running project Everydays, through which he has created and published a new digital artwork every day since 2007. His practice explores the intersection of art, media, and new technologies, challenging traditional boundaries of authorship and exhibition. With Regular Animals, Beeple extends his long-standing engagement with technology, culture, and satire—this time in a physical–digital hybrid installation.

Lisa Botti has been a curator at the Neue Nationalgalerie since 2024, after previously serving as an assistant curator to director Klaus Biesenbach. Before joining the Neue Nationalgalerie, Botti worked internationally, including at the Biennale of Sydney (2019–2021) and at Chan + Hori Contemporary in Singapore (2017–2019). At Neue Nationalgalerie, she has co-curated major exhibitions such as “Isa Genzken. 75/75” (2023), “Andy Warhol. Velvet Rage and Beauty” (2024), and an upcoming exhibition by Maurizio Cattealan in autumn 2026. She has also contributed to the museum’s performance programming, including the annual PERFORM! festival during Berlin Art Week.

Göksu Kunak (b. 1985, Ankara) is an artist, researcher, and writer based in Berlin. In 2025 Kunak was awarded the Akademie der Künste Kunstpreis (Berlin Prize for Art) in the category of Performing Arts. Most recently Kunak has focused on score-based performances and installations that investigate the body as both simulacrum and sculptural object, with particular attention to musculature, fortitude, and embodiment. Their work has been presented internationally at institutions and platforms including Performa Biennial, New York; Neue Nationalgalerie, Sophiensaele, and Neuer Berliner Kunstverein, Berlin; deSingel Arts Center, Antwerp; and Kaaitheater, Brussels, among others.

Since mid-2025, Léon Kruijswijk (b. 1989, NL) has been Performance Curator at Mudam Luxembourg – Musée d’Art Moderne Grand-Duc Jean. At Mudam, he has curated a major Simon Fujiwara retrospective and a performance program titled “A Journey.” The program includes installation and live works by Ivan Cheng, Sojung Jun, Mohamed Toukabri, and SERAFINE1369. Prior to his position at Mudam, he was Curator at KW Institute for Contemporary Art in Berlin. There, he curated large-scale performances of Alexis Blake, Michele Rizzo, and Billy Bultheel & James Richards. He also (co-)curated exhibitions with BLESS, Coco Fusco, Luiz Roque, Sung Tieu, Oraib Toukan, and Miloš Trakilović. As a freelance curator and writer, Kruijswijk has co-curated with Joel Valabrega the Present Future section of the Artissima art fair in Turin since 2024. Kruijswijk frequently collaborates with Göksu Kunak and has written for various art platforms and artist publications.

The work of Pae White (b. 1963, Pasadena, California) combines scale and delicacy to repurpose everyday substances into sensory and revelatory new arrangements. White participated in the Whitney Biennial, New York (2010) and the 53rd Venice Biennale (2009). Selected solo exhibitions include those at Plataforma de Arte Contemporáneo, Guadalajara (2025); San José Museum of Art, San José (2019); Saarlandmuseum, Moderne Galerie, Saarbrücken (2017); MAK – Museum für angewandte Kunst / Gegenwartskunst, Vienna (2013); Langen Foundation, Neuss (2013); South London Gallery, London (2013); The Power Plant Contemporary Art Gallery, Toronto (2011); Art Institute of Chicago, Chicago (2011); Saint Louis Art Museum, St. Louis (2010); Hirshhorn Museum and Sculpture Garden, Washington, D.C. (2007); Manchester Art Gallery, Manchester (2006); and Hammer Museum, Los Angeles (2004). White lives and works in Los Angeles.

Kimberly Bradley is an art critic, culture journalist, editor, and educator based in Berlin. She has written for publications ranging from frieze to The New York Times; edited catalogues and artist books for institutions including KW Institute for Contemporary Art, Haus der Kunst, and Gropius Bau; and for a decade taught courses in contemporary art practices at NYU Berlin. She is a commissioning editor at Art Basel Stories and in 2024 was the curator of Art Basel Conversations in Basel and Miami Beach.

Ketuta Alexi-Meskhishvili (b. 1979, Tbilisi) is a Georgian-American photographer living in Berlin. Staging her compositions in her studio, or directly on the surface of an analog film emulsion, in a “camera-free” method, she makes images in which the residual details of this deliberately precarious production shape their subject matter. Homing in on porous boundaries between life and art, Alexi-Meskhishvili melds the grotesque, poetic, political, humorous, and uncanny in ambivalent cohesion. Solo exhibitions have been held at Kunsthalle Baden Baden (2026, forthcoming); Kunstverein Braunschweig (2025); Je Vous Propose, Zurich (2024); LC Quiesser, Tbilisi (2024); backwall at Kunsthalle Basel (2023); Helena Anrather, New York (2023); and Galerie Molitor, Berlin (2022), among others. Selected group exhibitions include Kunstmeile Hamburg (2025); Nicoletta Fiorucci Foundation, London (2025); CCA Berlin (2024); and SculptureCenter, New York (2024).

Carina Bukuts is Chief Curator at Kunsthalle Wien. From 2022 to 2025 she was the curator of Portikus, Frankfurt, a position she held together with Liberty Adrien. There she has curated acclaimed solo exhibitions of Hassan Khan (2025), Adrian Piper (2024), Tarik Kiswanson (2024), Simone Fattal (2023), Lap-See Lam (2023), and Asad Raza (2022) as well as group shows featuring Jason Dodge, Trinh T. Minh-ha, Laurie Parsons, Luiz Roque, Slavs and Tatars, Sung Tieu, and Cecilia Vicuña, among others. Prior to this she served as an editor at frieze and founded PASSE-AVANT, an online platform dedicated to contemporary art and discourse. She is a member of the art critics association AICA and her writings regularly appear in various monographs and magazines, including frieze, Mousse Magazine, and Spike Art Magazine. Additionally, she has taught at institutions such as Städelschule, Goethe University Frankfurt, Academy of Fine Arts Mainz, and Braunschweig University of Arts.

Matilde Guidelli-Guidi is the curator and co-head of the curatorial department at Dia Art Foundation, where she has organized exhibitions of work by Duane Linklater, Senga Nengudi, Cameron Rowland, Kishio Suga, Meg Webster, and Jack Whitten, among several others, and edited the publications Jack Whitten: The Greek Alphabet Paintings (2023), Senga Nengudi: Populated Air (2025), and Artists on Agnes Martin (2026). She oversees Dia’s permanently sited works by Walter De Maria, Max Neuhaus, and Joseph Beuys, and, as the organizer of the Artists on Artists Lecture Series, she commissions a growing roster of contemporary artists to respond to their peers and Dia’s institutional history. Her upcoming projects include exhibitions of work by Alighiero Boetti, André Cadere, Richard Tuttle, and Éliane Radigue.

Billy Tang is the artistic director of the new London-based non-profit Yan Du Project (YDP). YDP is a “laboratory” for new forms of artistic community, experimentation, and institutional dialogue, dedicated to Asian and Asian diaspora artists. A prominent curator and writer known for his work with art institutions in the UK, Mainland China, and Hong Kong, Tang has built a reputation for championing mid-career and emerging artists, and for rethinking exhibition-making as experimental, living processes rather than static displays. Previously, Tang served as the executive director and curator of Para Site in Hong Kong. He has also held senior curatorial roles at the Rockbund Art Museum in Shanghai and the artist-run Magician Space in Beijing. His writing has appeared in numerous periodicals, including ArtAsiaPacific, Leap, and Mousse.

Joel Valabrega is a curator based in Porto and Milan. She curated the Luxembourg Pavilion at the 60th International Venice Biennale (2024) and the Present Future section of Artissima Art Fair (2024 and 2025). From 2020 to 2024, she was Curator of Performance and Moving Image at Mudam—Museum of Modern Art, Luxembourg, and from 2025 to 2026, Head of Programme / Curator at Galeria Municipal do Porto. Recent projects include the performance festival Fogo Fátuo (2025), the experimental exhibition Workers in Song by Billy Bultheel & James Richards (2024), the performative group exhibition “After Laughter Comes Tears” (2023), and the performance festival The Illusion of the End (2022). From 2016–2022, Valabrega co-ran the project space MEGA in Milan. She has held curatorial roles at institutions such as V-A-C Foundation in Moscow and Venice (2018–19) and Triennale Milano (2020). She edited After Laughter Comes Tears (Lenz Press, 2023), Tarek Atoui: Waters’ Witness #02 (Mudam/Les presses du réel, 2022), and the artist book form is void void is color (2020), and contributes regularly to exhibition catalogues and magazines.

Gregor Quack is Volkswagen Group Curator at Neue Nationalgalerie, Berlin, where he specializes in performance, music, and discursive programming. He earned a doctorate in Art History at Yale University, with a thesis on participatory tendencies and sociological thinking in Postwar German Art. Previously, he worked in the Performance department of the Whitney Museum of American Art, co-curated exhibitions at Cantor Arts Center and Yale University Art Gallery, and wrote art criticism for Frankfurter Allgemeine Sonntagszeitung and international art magazines.

Thomas Demand (b. 1964, Munich) is one of the foremost contemporary German artists. His singular oeuvre merges sculpture and photography and usually relies on found images. The artist, who lives in Berlin, painstakingly reconstructs the found photographs as three-dimensional, usually life-size models made of paper and cardboard before expertly lighting and photographing them with a large-format camera. The models are destroyed once the work process is complete. The result is an uncanny, hybrid image, both a document of the artist’s process and a reconstruction of a pre-existing reality. Demand was recently the subject of a major touring retrospective, “The Stutter of History,” which has been exhibited at Taipei Fine Arts Museum (2025); Museum of Fine Arts, Houston (2024); Jeu de Paume, Paris (2023); Israel Museum, Jerusalem (2023–24); and UCCA Edge, Shanghai (2022).

Lynne Cooke is a curator and writer living in New York. Her recent exhibitions include: “Outliers and American Vanguard Art,” National Gallery of Art, Washington, D.C., LACMA, and the High Museum, Atlanta; “Woven Histories: Textiles and Modern Abstraction,” LACMA, the National Gallery of Art, Washington, D.C., the National Gallery of Canada, Ottawa, and MoMA, New York; and “Ceija Stojka: Making Visible,” The Drawing Center, New York. Cooke is currently a fellow at the American Academy in Berlin.

Stella Zhong (b. 1993, Shenzhen, China) is an artist based in New York City. She holds a BFA in Glass from Rhode Island School of Design and an MFA from Yale University. Her work has been included in recent exhibitions at Para Site, Hong Kong; The Power Station, Dallas; Leeum Museum of Art, Seoul; and SculptureCenter, New York. She has had solo exhibitions across Europe, North America, and Asia.

Martin Germann is a curator who lives and works in Berlin and Kyoto. He specializes in site-resonant exhibition projects and until 2025 he was Adjunct Curator for the Mori Art Museum (Tokyo), where he worked on exhibitions including “Machine Love – Video Game, AI and Contemporary Art” (2025), “Our Ecology – Toward a Planetary Living” (2023–24), and “Another Energy – Power to Continue Challenging – 16 Women Artists from around the World” (2021). He was previously Head of the Artistic Department at S.M.A.K. in Ghent (2012–2019), a curator at the Kestner Gesellschaft Hannover (2008–2012), and a team member of the 3rd and 4th editions of the Berlin Biennale for Contemporary Art.

Edi Rama (b. 1964, Tirana) lives and works in Tirana. He trained as a painter at the Academy of Fine Arts in Tirana, where he later taught as a professor. After several years working as an artist in Paris, he returned to Albania in 1998 to serve as Minister of Culture and has been Prime Minister since 2013. His first solo exhibition, “Chrysalizing,” at Société opens in late April on the occasion of Gallery Weekend Berlin. Recent solo exhibitions include “Edi Rama,” Marian Goodman Gallery, Paris (2024); “Improvisations,” Zappeion, Athens (2023); and “Work,” which traveled from Kunsthalle Rostock, Germany (2018) to the Nevada Museum of Art, Reno (2019). Earlier presentations of his work have been held at the New Museum, New York (2016); the Venice Biennale (2017, 2003); Centre Pompidou, Paris (2010); Haus der Kunst, Munich (2004); and the São Paulo Biennial (1994).

Anri Sala (b. 1974, Tirana) constructs transformative, time-based works through multiple relationships between image, architecture, and sound. His works investigate ruptures in language, syntax, and music, inviting creative dislocations, which generate new interpretations of history, supplanting old fictions and narratives with less-explicit, more-nuanced dialogues. His work has been the subject of solo exhibitions at Bourse de Commerce, Paris (2023); Kunsthaus Bregenz (2021); Buffalo Bayou Park Cistern, Houston (2021); Centro Botìn, Santander (2019); Mudam, Luxembourg (2019); the Castello di Rivoli Museo d’Arte Contemporanea, Turin (2019); Museo Tamayo, Mexico City (2017); the New Museum, New York (2016); Haus der Kunst, Munich (2014); Centre Pompidou, Paris (2012); Serpentine Gallery, London (2011); Museum of Contemporary Art North Miami (2008); and ARC, Musée d’Art Moderne de la Ville de Paris (2004). He has also participated in major group exhibitions and biennials internationally, including the 57th Venice Biennale (2017), dOCUMENTA (13) (2012), the 29th São Paulo Biennial (2010) and the 4th Berlin Biennale (2006). In 2013, he represented France in the 55th Venice Biennale.

Natalia Gierowska is a political scientist and art critic working at the intersection of politics and visual culture. Her academic research focuses on European harmonisation processes as well as broader questions of governance and displacement. She has published in academic journals including Springer and contributed book chapters on migration policy and refugee law, particularly in relation to the Middle East. She previously worked in political lobbying, academia, and diplomacy, experiences that inform her interdisciplinary approach to art criticism. She is Editor-at-Large at The Brooklyn Rail and co-leads the Stefan Gierowski Foundation in Warsaw, advancing its cultural and educational programmes.

In bright color-field paintings, Katherine Bradford (b. 1942, New York) often depicts motifs including floating figures, swimmers, flying supermen and -women, couples, and suited men surrounded by planets, houses, and beaches. These figures often seem vulnerable, awkward, and exposed, with Bradford’s paintings drawing their atmospheric, metaphorical power from a playful engagement with emotion and humor. Bradford had solo institutional exhibitions at Kunsthalle Emden, Germany; Halle für Kunst Steiermark, Austria; Frye Art Museum, Seattle; Portland Museum of Art, Portland, OR; and The Modern Museum of Fort Worth, TX, among others. Her work is held in public collections including those of the Metropolitan Museum of Art, New York, NY; Brooklyn Museum, NY; Hirschhorn Museum, Washington D.C.; Musee D’Art Moderne de Paris; Baltimore Museum, MD; and Kunsthalle Emden, Germany.

Chloe Stead is an art critic, writer and editor based in Berlin. As Associate Editor at frieze, she commissions and oversees digital content. Her freelance writing on art and culture has appeared in publications including The Financial Times, Spike Art Quarterly, Artnet, AnOther Magazine, and Monocle. She is also a regular contributor to artist monographs and has participated in or moderated talks at Damien & the Love Guru, Brussels; Vienna Contemporary; Hamburger Bahnhof, Berlin; Kunstverein Harburger Bahnhof; and Migros Museum, Zurich, among others.

Korean-born, Berlin-based artist Anne Duk Hee Jordan (b. 1978) uses sculpture, film, technology, installation, and other narrative environments to explore cycles of transformation, ecological entanglements, and impermanence. Jordan studied at Kunsthochschule Berlin-Weißensee and at the Institut für Raumexperimente with Olafur Eliasson at the Berlin University of the Arts. The artist has held a Professorship in Digitale Medien at HfG Karlsruhe and is now Professor for Environmental Intervention at the Hochschule für bildende Künste Hamburg. Jordan has had solo exhibitions at Canal Projects, New York; Barbican Centre, London; Bass Museum, Miami; and Kunsthaus Wien. Jordan’s work has been included in group exhibitions at ZKM | Center for Art and Media, Karlsruhe; Trondheim Kunstmuseum; Gwangju Biennale; ACC Korea; and NYU Shanghai.

Haeju Kim is a South Korean curator and writer currently based in Singapore. She is Senior Curator and Head of Residencies at the Singapore Art Museum. She has curated numerous contemporary art exhibitions and performance programs, with a particular emphasis on the body, time, archives, and memory. Her work also engages with ecological perspectives, locality, and their transnational and planetary connections. Most recently, she participated as a guest curator for “Roppongi Crossing 2025” at the Mori Art Museum, Tokyo, and co-curated the Asia Art Biennial 2024 in Taiwan. She was the curator of the Singapore Pavilion at the Venice Biennale in 2024 and served as Artistic Director of the Busan Biennale in 2022. She was previously Deputy Director at the Art Sonje Center, Seoul (2017–2021).