Kataoka Mami joined the Mori Art Museum in 2003, taking on the role of Director in 2020. She has also been the Director of the National Center for Art Research, Japan since April 2023.
Beyond Tokyo, Kataoka has held position at the Hayward Gallery in London as International Curator from 2007 to 2009, while she has also acted as Co-Artistic Director for the 9th Gwangju Biennale (2012), Artistic Director for the 21st Biennale of Sydney (2018) and Artistic Director for the Aichi Triennale 2022. Kataoka served as a Board Member (2014-2022) and the President (2020-2022) of CIMAM [International Committee for Museums and Collections of Modern Art].

Reijiro Izumi is Tea master and researcher of the Way of Tea. He is the second son of Masakazu Izumi, the younger brother of Zabosai, the 16th head of the Urasenke school. Studied under architectural historian Toshinori Nakamura at Kyoto University of Art and Design Graduate School, and received a Ph.D for research on tea utensils especially kettle. After working as a curator for Sakai city museum, he currently serves as vice director of Chado research center, vice principal of Urasenke Gakuen Professional College of Chado, director of NPO Wa nogakko, and Head of SABIÉ.

Born in 1976 in Singapore, where he lives and works.
Steeped in numerous Eastern and Western cultural references ranging from art history to theatre and from cinema to music to philosophy, Ho Tzu Nyen’s works blend mythical narratives and historical facts to mobilise different understandings of history, its writing and its transmission. The central theme of his œuvre is a long-term investigation of the plurality of cultural identities in Southeast Asia, a region so multifaceted in terms of its languages, religions, cultures and influences that it is impossible to reduce it to a simple geographical area or some fundamental historical base. This observation as to the history of this region of the world is reflected in his pieces which weave together different regimes of knowledge, narratives and representations. From documentary research to fantasy, his work combines archival images, animation and film in installations that are often immersive and theatrical.

One-person exhibitions of his work have been held at the Hessel Museum of Art (2024), Art Sonje Center (2024), Museum of Contemporary Art Tokyo (2024), Singapore Art Museum (2023), Hammer Museum (2022), Toyota Municipal Museum of Art (2021), Crow Museum of Asian Arts (2021), Yamaguchi Center for Arts and Media [YCAM] (2021), Edith-Russ-Haus for Media Art (Oldenburg, 2019), Kunstverein in Hamburg (2018), Ming Contemporary Art Museum [McaM] (Shanghai, 2018), Asia Art Archive (2017), Guggenheim Bilbao (2015), Mori Art Museum, (2012), The Substation (Singapore, 2003). He represented the Singapore Pavilion at the 54th Venice Biennale (2011).

Lu Yang is a contemporary interdisciplinary artist based in Tokyo and Shanghai. His work, deeply influenced by Buddhist philosophy, explores themes of identity, life, technology, and spirituality.
Lu Yang extensively utilizes computer graphics (CG) technology and game engines as creative media, collaborating with experts from various fields such as scientists, psychologists, designers, and music producers.
He participated in the Venice Biennale in both 2015 and 2022 and has been involved in other major museum exhibitions and biennials/triennials. Lu Yang was awarded the BMW Art Journey in 2019 and was also the recipient of the Deutsche Bank Artist of the Year award in 2022.

Haegue Yang (b. 1971, Seoul) lives and works between Berlin and Seoul. Spanning a vast range of media—from collage to kinetic sculpture and room-scaled installations—Yang’s work links disparate histories and traditions in her distinctive visual idiom. The artist draws on a variety of craft techniques and materials, and the cultural connotations they carry: from drying racks to venetian blinds, hanji to artificial straw. Yang’s multisensory environments activate perception beyond the visual, creating immersive experiences that treat issues such as labor, migration, and displacement from the oblique vantage of the aesthetic. Her recent solo exhibitions have taken place at venues including: Hayward Gallery, London (2024); Arts Club of Chicago (2024); Helsinki Art Museum (2024); National Gallery of Australia, Canberra (2023); S.M.A.K. – Municipal Museum of Contemporary Art, Ghent (2023); Pinacoteca de São Paulo (2023); SMK – National Gallery of Denmark, Copenhagen (2022); MMCA, Seoul (2020); Tate St Ives (2020); MoMA – The Museum of Modern Art, New York (2019); and Museum Ludwig, Cologne (2018).

Suzanne Lacy is a Los Angeles-based artist and a pioneer of socially engaged public performance art. Her installations, videos, and performances deal with sexual violence, rural and urban poverty, incarceration, labor, and aging. Lacy’s large-scale projects span the globe, including England, Colombia, Ecuador, Spain, Ireland, and the US. In 2019, she had a career retrospective at the San Francisco Museum of Modern Art. Her most recent project initiated in 2019, Uncertain Futures, has explored intersectional issues on paid and unpaid work through the lens of women over 50, focusing on gender, age, race, disability, and class and its final exhibition presents the concluding element of an immense collaborative work combining art, research, and activism on view at the Manchester Art Gallery. She is a professor at the Roski School of Art and Design at the University of Southern California and a resident artist at 18th Street Arts Center, Santa Monica, California.

Kylie Kwong is an Australian-Chinese chef who uses food as a catalyst for positive social impact and cultural exchange. As a third-generation Australian, she has drawn on her southern Chinese heritage to reinterpret Cantonese cuisine, combining uniquely Australian ingredients with traditional Chinese cooking methods and flavours. Food remains a simple yet universal connector that brings us together. For Kwong, food and cooking is an exploratory and conscious act, not only a pleasure for the senses but also a platform for cultural exchange, storytelling and building community. Widely known for her former restaurants Billy Kwong and Lucky Kwong, and her cookbooks and TV series, Kwong recently hung up her restaurateur hat after 24 years, to focus on wider arts, cultural and community projects, including her current role as a Powerhouse Associate for Powerhouse Parramatta, Sydney.