©Ito Akinori

Kataoka joined the Mori Art Museum in 2003, taking on the role of Director in 2020. She was international curator at the Hayward Gallery, London (2007–2009), co-artistic director for the 9th Gwangju Biennale, South Korea (2012), artistic director of the 21st Biennale of Sydney (2018), and artistic director of Aichi Triennale 2022. She also served as a Board Member (2014–2022) and the President (2020–2022) of CIMAM (International Committee for Museums and Collections of Modern Art). Other roles include a Temporary Member of the 20th Cultural Policy Committee of the Council for Cultural Affairs and a Member of the Japanese National Commission for UNESCO, among other committees and juries.

Uematsu has been curator of the National Museum of Art, Osaka (NMAO) since 2008 and previously worked as chief curator at Marugame Genichiro-Inokuma Museum of Contemporary Art. She has organized numerous exhibitions at NMAO, including Danh Vo oV hnaD (2020), 40th anniversary exhibition Travelers: Stepping into the Unknown (2018), The Self-Portrait of Yasumasa Morimura: My Art, My Story, My Art History (2016, traveled to Moscow in 2017), Wolfgang Tillmans: Your Body is Yours (2015), and co-organized Andreas Gursky (2014). She was appointed as the commissioner of the Japan Pavilion at the 54th Venice Biennale presenting Tabaimo and the commissioner of Japan at the 13th Bangladesh Biennale presenting Yoneda Tomoko and Suda Yoshihiro. Uematsu was awarded the 11th Western Art Foundation Prize in Japan for organizing the Wolfgang Tillmans exhibition at NMAO.

©Yamamoto Naoaki

Since 2000, Odate has managed many leading Japanese artists, including Araki Nobuyoshi, Morimura Yasumasa, Kasahara Emiko, and Yanagi Miwa. She has also served as an editor of the online magazine ART iT since 2010. She was a Curatorial Associate of the Yokohama Triennale 2014. Her other art exhibitions and events include Miwa Yanagi: Windswept Woman—The Old Girls’ Troupe (Japan Pavilion, Venice Biennale, 2008), Yasumasa Morimura: Theater of Self (Andy Warhol Museum, Pittsburgh, 2013), Nobuyoshi Araki: Ojo Shashu (Toyota Municipal Museum of Art, Niigata City Art Museum, Shiseido Gallery, and others, 2014).

Kawaguchi assumed her current position in 2022 after serving as a registrar at Pola Art Museum and working at the National Museum of Western Art. She has co-authored two volumes of The Matsukata Collection: Complete Catalogue of European Art (Tokyo: The National Museum of Western Art, 2018–19), and has published essays, including “The Provenance of Artworks Evidenced by Their Archival Records” (Bijutsu Forum 21, No. 35, 2017) and “Compilation of the Matsukata Collection Catalogue Raisonné and Documentation of Works of Art” (The Bulletin of Japan Art Documentation Society, 2020). She is currently a member of the working-level conference concerned with the Agency for Cultural Affairs program for rationalization of artwork management and market stimulation through the digital transformation of artworks, and of the Study Group to Consider Attractive Exhibits and Operations of a New National Archive instituted by the Cabinet Office of the Government of Japan. She is a recipient of the 15th Western Art Promotion Foundation Academic Award (2020).

Nariai specializes in Japanese avant-garde art after World War II, and organizes cross-sectional and region-wide exhibitions that interact with comics, popular magazines, advertisements, and other hybrid reproduction culture and art. Selected curatorial projects include: Parody and Intertextuality: Visual Culture in Japan around the 1970s (Tokyo Station Gallery, 2017); Discover, DISCOVER JAPAN (Tokyo Station Gallery, 2014); and The World of ISHIKO Junzo: From Art via Manga to Kitsch (Fuchu Art Museum, 2011‒12).

©Ishihara Tomoaki

Kajiya is an art historian who focuses on post-World War II art and art criticism in the United States and Japan. After working as an associate professor at the Faculty of Arts, Hiroshima City University, and at the Archival Research Center, Kyoto City University of Arts, he became an associate professor at the Graduate School of Arts and Sciences, The University of Tokyo in 2016, and professor in 2019. He is the director of the Oral History Archives of Japanese Art and the deputy director of The University of Tokyo’s Art Center. His book, Formless Modernism: Color Field Painting and 20th Century American Culture, is forthcoming from the University of Tokyo Press. He edited Usami Keiji: A Painter Resurrected (Tokyo: University of Tokyo Press, 2021) and co-edited From Postwar to Postmodern, Art in Japan 1945‒1989: Primary Documents (New York: Museum of Modern Art, 2012) and others.

Mitsuda specializes in the history of 20th century art and photography. Born in Hyogo Prefecture, she received her BA from the Kyoto University Faculty of Letters. She has served as a curator at the Toyama Prefectural Museum of Art and Design, Shoto Museum of Art, and the Kawamura Memorial DIC Museum of Art. At Tama Art University, she has been Professor in the Graduate School of Art and Design since 2021 and Director of the Art Archives Center since 2022. She is the author of books such as Word and Things :Jiro Takamatsu and Japanese art 1961‒72 (Daiiwa Press, 2012) and At the Interface between Photos and Art: A History of Photography from the 1910s to the 1970s (Seikyusha, 2006), and co-authored For a New World to Come: Experiments in Japanese Art and Photography (Yale University Press, 2015), Provoke: Between Protest and Performance: Photography in Japan 1960/1975 (Steidl, 2016), and An Anthology of Japanese Art Criticism, 1955‒1964 (Geika Shoin, 2021), among others. Her special exhibitions include Hi-Red Center: The Documents of Direct Action (2013‒2014), Mirror Behind Hole: Photography into Sculpture (2017), and Painting into Sculpture—Embodiment in Form (2019).

Nakajima is an art historian who specializes in feminism, Japanese art history, and contemporary art. After completing her MA at the University of Leeds, she earned her PhD at Hitotsubashi University in 2013. She has been interested in art and feminism in modern and contemporary Japan and conducted interviews of women artists. Her recent publications include Anti-action: Post-War Japanese Art and Women Artists (Brücke, 2019) and “Dream for Solidarity: Palestinian Art JAALA and Haryū Ichirō in the 1970s and 1980s” in Past Disquiet: Artists International Solidarity and Museums-in-Exile (University of Chicago Press, 2018). She currently teaches at Osaka University as an associate professor.

KuroDalaiJee is a researcher of postwar avant-garde art in Japan. He lives in Fukuoka. He is the author of Anarchy of the Body: Undercurrents of Performance Art in 1960s Japan (Tokyo: grambooks, 2010), and received the 2010 Art Encouragement Prize for New Artists (criticism category) from the Minister of Education, Culture, Sports, Science and Technology for this book. He is co-author of Senkyūhyakurokujūhachi-nen bunka ron [Cultures in 1968] (Tokyo: Mainichi Shimbunsha, 2010). He has also contributed to Shakai bungaku [Social literature], Rear, Yishu guandian (Art Critique of Taiwan), Xiendai meishu xuebao (Journal of Taipei Fine Arts Museum), and Positions: East Asia Cultures Critique, among others.

©Hayashi Shunsaku

Yamamoto is a Lecturer at Kanazawa College of Art in Japan. He graduated in Social Science at Hitotsubashi University, Tokyo in 2010 and completed his MA in Fine Art at Chelsea College of Arts (UAL), London in 2013. In 2018, he received a PhD from the University of the Arts London. From 2013 until 2018, he worked at Research Centre for Transnational Art, Identity and Nation (TrAIN) as a postgraduate research fellow. After working at Asia Culture Center (ACC) in Gwangju, South Korea as a research fellow and The Hong Kong Polytechnic University, the School of Design as a postdoctoral fellow, he was Assistant Professor at Tokyo University of the Arts until 2020. His single-authored publications are The History of Contemporary Art: Euro-America, Japan, and Transnational (Chuo Koron Sha, 2019) and Art of the Post-Anthropocene (Bijutsu Shuppan sha, 2022). His co-authored publications include Media and Culture in Transnational Asia: Convergences and Divergences (Rutgers University Press, 2020), Thinking about Racism (Kyowakoku, 2021), and Socially Engaged Public Art in East Asia: Space, Place, and Community in Action (Vernon Press, 2022).