Taro Amano is Curator in Chief of the Yokohama Civic Art Gallery Azamino and a part-time lecturer at Tama Art University, the Joshibi University of Art and Design, Kokushikan University and Josai International University. He is a member of the International Association of Art Critics Japanese Section (AICA JAPAN). After working for the Hokkaido Museum of Modern Art, Amano was appointed curator of the Yokohama Museum of Art in 1987, when preparations for the museum’s opening were in full swing. In this role, he has been involved in planning numerous exhibitions, including many outside Japan. Amano served as the curator of the Yokohama Triennale 2005 and as the curatorial head of the 2011 and 2014 editions of the triennale. The major exhibitions he curated at the Yokohama Museum of Art and the Yokohama Civic Art Gallery Azamino include “Japanese Art after 1945: Scream against the Sky” (1994), “Louise Bourgeois: Homesickness” (1997), “Yoshitomo Nara: I Don’t Mind, If You Forget Me.” (2001), “Non-Sect Radical: Contemporary Photography III” (2004), “Teppei Kaneuji: Melting City / Empty Forest” (2009), “Ryuichi Ishikawa: Once Thinking, Nothing before the Eyes.” (2016), “Takashi Arai: Bright was the Morning” (2017) and “Shingo Kanagawa: Long Time Span” (2018).

Agnieszka Kubicka-Dzieduszycka is a media art curator, project manager and academic teacher. After graduation in Austrian feminist literature at the Wrocław University, in 1994 she joined the organizers of Poland’s first media art festivals. Since then she’s been working on programming and production of 13 successive editions of the WRO Media Art Biennale, the major forum for media art in Poland and a key international event. Since launching the WRO Art Center (2008) she’s co-shaping the development of its program, runs international collaborations and is actively involved in art mediation. She’s curated and managed several EU-funded projects (new commissions, co-productions, touring exhibitions, digitization). Her latest curatorial contributions include Polish program at the AIB18 Biennale in li (Finland), exhibitions, workshops and screenings in Ukraine, Sweden, Japan, Germany, Israel. Her continuous work with Japanese media artists includes the “reversible//irreversible//presence” series of exhibitions and screenings by artists from Japan, presented at the WRO Art Center in 2016-2017.

Kanoko Tamura runs Art Translators Collective, an organization specializing in interpretation and translation in art. She explores the possibilities of creative communication and translation as a mediator while working in many fields, including interpretation, translation, editing and publicity in Japanese and English. Not only does she accompany artists visiting Japan and serve as an interpreter at discussion sessions held at major museums, galleries, international art festivals, and performing arts programs, she also works as a translation director responsible for coordinating optimal dialogue strategies according to the context of a given event or publication. Tamura teaches English and communication classes for artists in the Global Art Practice Course of the Graduate School of Fine Arts, Tokyo University of the Arts as a part-time lecturer. She graduated from Tufts University (U.S.) with a B.S. in Civil Engineering and Architecture in 2008 and from Tokyo University of the Arts with a B.A. in Inter-media Art in 2013. She is a member of Arts Commons Tokyo.

Kohei Sato is the sub-section chief of museum management at the Sapporo Art Museum, where he began working in 2011. His curatorial projects include exhibitions featuring artists with ties to Sapporo or Hokkaido, such as Sprouting Garden (SIAF2014 associated exhibition) and Sapporo Art Exhibition: Travel Is All About the Journey, as well as exhibitions related to manga, anime and subcultures, such as The Great Hokkaido Manga Exhibition. After working at the Japan Foundation for Regional Art-Activities from 2017, he assumed his present post in 2019.

Seiji Nakamura is the chief curator of the Kushiro Art Museum, Hokkaido. He began working as a curator at the Hokkaido Museum of Modern Art in 1987. In 2009, while head of the Curatorial Division at the Hokkaido Asahikawa Museum of Art, he curated the Hiroshi Abe’s Animal Orchestra exhibition in collaboration with local residents. In 2010, he became the director of the Curatorial Division III of the Hokkaido Museum of Modern Art, where he went on to curate various exhibitions of works from the museum’s collection. In 2016, as deputy director of the Migishi Kotaro Museum of Art, Hokkaido (mima), he took charge of the renovation of the museum and the renewal of its programs. His other curatorial projects include Ultraman Art!, Godzilla Exhibition, Migishi Kotaro Exhibition for Children, and Art of Uneasy Poetry.

An art mediator and curator of educational projects, based in Poland. Since 2010, she’s been cooperating with cultural institutions around Poland, developing unique workshops, exhibitions and projects in the field of contemporary art based on sharing, engaging and experiencing. Since she joined the WRO Art Center’s curatorial team in 2013, she has been responsible for programming and developing audience-oriented activities.

Kazumi Miyai majored in aesthetics and art history at Kanazawa College of Art. Graduating in 2001, she has been a curator at Moerenuma Park since 2003. She explores the possibilities of creative activities in open spaces, especially parks. Major exhibitions and art projects that she has curated include the Fuyuka Shindo exhibition “Child of Setters” (2019), the SIAF2017 project “RE/PLAY/SCAPE” (2017), the exhibition “AKARI Reflection” (2016), the Kana Yoshida exhibition “Snow Reflected in Plumeria” (2015), the exhibition “Imaginary Landscapes” (2015), the Tetsuro Kano exhibition “Abstract Maps, Concrete Territories” (2013), the Hideaki Sasaki exhibition “Droplets Garden” (2013), the exhibition “Walking” (2011), and the art event “Snowscape Moere” (2005–2012).

Naoto Iwasaki is the sub-section chief of Hongo Shin Memorial Museum of Sculpture, Sapporo. He started working as a curator at the Sapporo Art Park in 1999. Since then, he has been engaged in curatorial work for 20 years. He has organized “Japanese Sculpture in the 20th Century,” “Isamu Noguchi: Energy from Zero,” “Beasts of the Northern Gods,” “Three-Dimensional Power: From Buddhist Statues to Dolls and Figures,” “Taguchi Art Collection: Palette of Spheres,” etc. He has been in hes current position since 2019. Translated with www.DeepL.com/Translator (free version)