SARA GARZÓN
Sara Garzón is a Colombian curator and writer based in New York City. She specializes in modern and contemporary art focusing specifically on issues relating to decoloniality, Indigenous new media art, and Global South solidarity politics. Sara earned her M.A. in Art History and Archaeology from The Institute of Fine Arts, NYU (2015), and her Ph.D in the History of Art and Visual Studies at Cornell University (2022).
Sara has been the recipient of numerous grants and fellowships including the Andrew Harris Postdoctoral Fellowship at the University of Vermont (2021-2022), the Jane and Morgan Whitney Curatorial Fellowship (2020-2021), and the Lifchez-Stronach Curatorial Fellowship (2015) both at the Metropolitan Museum of Art. Beside institutional appointments, Sara has curated exhibitions in the US, Europe, and Latin America, and is currently the curator of the research project “South to South: A Meeting on African and Afro-Diasporic Technologies” (2023-2024), which is organized in collaboration with Pivô in São Paulo, Centre d'art Waza in Congo.
Sara has contributed to several exhibition catalogs, anthologies, peer-reviewed journals and art magazines including DASartes Magazine, Ocula Magazine, Terremoto, Hyperallergic, and others. Her most recent editorial project Worldmaking Practices: A Take on the Future was published thanks to the support of the Colección Patricia Phelps de Cisneros, and her article “Manuel Amaru Cholango: Decolonizing Technology and the Construction of Indigenous Futures,” was awarded Best Essay in Visual Culture Studies 2020 by the Latin American Studies Association (LASA). Her article “Manuel Amaru Cholango: Decolonizing Technology and the Construction of Indigenous Futures,” was awarded best essay in Visual Culture Studies 2020 by the Latin American Studies Association (LASA). Since then, she was contributed articles and exhibitions review to e-flux, Hyperallergic, Ocula Magazine, and others including anthologies and exhibition catalogs such as Latin American Ecologies forthcoming with K-Verlag, Theory in the New Humanities series from Bloomsbury, 2024, and Ximena Garrido-Lecca Botanical Readings: Erythroxylum Coca published by Terremoto Publicaciones, 2022 in Mexico City. Sara is currently working on her book project titled: 1992: 500-Years of Anti-Colonial Resistance.
SABINA OROSHI
Sabina Oroshi, researcher and curator from Croatia, currently lives in Germany. She holds a Master's degree in Art History, Museology and Heritage Management and a Bachelor's degree in Art History and Philosophy. Oroshi has completed a one-year international course for curators at the NODE Center Berlin and participated in a number of summer schools for curators such as "ANEK | On Collectivising Bodies, Minds and Action" at the Kunsthalle am Hamburger Platz in Berlin and the "SSAS-Summer School As School" at the Stacion - Center for Contemporary Art in Pristina (Kosovo).
Currently working as a deputy curator at the Kunsthalle Trier within the European Art Academy in Trier. Previous work experience includes work in the artist planning of the Elbphilharmonie in Hamburg, and positions in the curatorial and educational departments of Millerntor Gallery in Hamburg (Germany), Museum Lapidarium in Novigrad (Croatia), Rigo Gallery in Novigrad (Croatia), Contemporary Art Museums in Zagreb (Croatia) and Krakow (Poland), as well as Peggy Guggenheim Collection in Venice (Italy), Croatian Pavilion at the Venice Biennale (Italy), WHW Curatorial Collective (Croatia) and Avantgarde Research Institute (Croatia).
Her research focuses on the political and social development of artistic and cultural production in post-socialist Yugoslavia, with Ms. Oroshi focusing on the promotion of issues around precarious local and international communities. Another major interest is the issues of art, ecology, and the Anthropocene.
MAYA HAYDA
Maya Hayda (b. 1998) is a curator, writer, and art historian based in New York. She has worked with Artists Space, Canal Projects, and PS122 Gallery and has written for The Wattis Institute’s online library, FLAT Journal, Public Parking, and The Drawing Center. Her research interests are rooted in questions of materiality, analogy, poetics, and the confluences of natural and built environments across Eastern Europe and the Global South. Her practice examines and activates art as an interdisciplinary framework that exposes, engages, and catalyzes relations between organisms, matter, media, and broader ecologies. Her ongoing projects are interested in geopoetics, extraction, and extractivism, seeking to engage with artistic practices that recalibrate and undermine these cycles with alternative possibilities of worlding, being, and relating. She holds a degree in Art History and English from Wesleyan University (2021). https://mayahayda.cargo.site/