Artes Mundi 10 Jury Announced

We are delighted to announce the AM10 jury comprising major figures within contemporary visual arts: Katya García-Antón, Gabi Ngcobo and Wanda Nanibush. Their collective knowledge, expertise and networks is far reaching, conceptually, practically and geographically, creating a diversity and depth in support of AM10.

A portrait photo of a woman called Katya García-Antón looking directly at the camera, wearing an orange scarf, with her arms crossed and smiling

Katya García-Antón

A headshot of a woman called Gabi Ngcobo looking and smiling directly at the camera, with her arms crossed

Gabi Ngcobo

A headshot of a woman called Wanda Nanibush

Wanda Nanibush

Katya García-Antón is director and chief curator of the Office for Contemporary Art Norway (OCA), where she has held the post since 2014. 


A British and Spanish national, she graduated with a BA in biology from Bristol University, UK, specializing in primatology and ecology. She conducted field work in the Amazon forests in Brazil and in the Gola Forests in Sierra Leone, before transferring into the arts with a master’s degree in 19th- and 20th-century art history from the Courtauld Institute of Art, London. She worked as a curator at the Courtauld Institute of Art, Museo Nacional Reina Sofía Madrid, ICA London, IKON Birmingham, and was director of the Centre d’Art Contemporain Genève. She curated the Spanish Pavilions in the Sao Paulo Biennial 2004 and in the Venice Biennale 2011, the Nordic Pavilion in the Venice Biennale 2015 and was co-curator of the Qalandiya International Biennial 2022, in Jerusalem and Ramallah. 


She has curated over 100 exhibitions of art, design and architecture; most recently she was chief curator for OCA’s ‘Actions of Art and Solidarity’ (2021) presented in Kunstnernes Hus Oslo. Her extensive publications include, most recently, being editor/co-editor (contributing with essays) of OCA’s trilogy on new Indigenous writing: Sovereign Words. Indigenous Art, Curation and Criticism (2018), Mázejoavku. Indigenous Collectivity and Art (2020) and Let the River Flow. An Indigenous Uprising and its Legacy in Art, Ecology and Politics (2020), as well as the upcoming Art and Solidarity Reader. Radical Actions, Politics and Friendships (2022). In 2021 she presented keynote lectures on decolonial and Indigenising institutional practices in The Art Institute Basel’s Master Symposium ‘Seeing into the Heart of Things. Earth and Equality within Indigenous an Ancestral Knowledges’ and with Alserkal Foundation in Dubai World Expo 2022. 


In 2015 García-Antón launched a long-term focus on the North (both in terms of climate change and Sámi perspectives and how they connect) called ‘Thinking from the Edge of the World. Perspectives from the North’. She was instrumental in the creation of the Artica Svalbard Foundation, in connecting scientific and artistic practices there; OCA is a key partner in Artica’s residency and curatorial activities. 


At OCA, García-Antón has generated significant Indigenising practices and programs, in particular related to Sámi art and thought, as well as facilitated greater connectivity between Sámi voices and Indigenous thinkers across the world in ground-breaking projects such as documenta14, the Sydney Biennial 2020, the 13th Gwanju Biennial 2021, amongst others. OCA is lead commissioner of the project that transforms the Nordic Pavilion into ‘The Sámi Pavilion’ at the 59th International Art Exhibition of La Biennale di Venezia, 2022. García-Antón is part of the curatorial group for ‘The Sámi Pavilion’. 


In August 2022 she starts as director of the Northern Norway Art Museum (NNKM) whose headquarters are based in Tromsø, with a branch in Longyearbyen in the Svalbard Archipelago, and an upcoming branch in Bodø, near the Lofoten Archipelago. 


Gabi Ngcobo is an artist, curator and educator living in Johannesburg, South Africa. Since the early 2000s Ngcobo has been engaged in collaborative artistic, curatorial, and educational projects in South Africa and on an international scope.


Recent curatorial projects include All in a Day’s Eye: The Politics of Innocence in the Javett Family Collection, at the Javett Art Centre- University of Pretoria (Javett-UP), Mating Birds at the KZNSA Gallery, Durban. In 2018 she curated the 10th Berlin Biennale titled We don’t need another hero and was one of the co-curators of the 32nd Sao Paulo Biennial (2016).


She is a founding member of the Johannesburg based collaborative platforms NGO – Nothing Gets Organised (2016-) and Center for Historical Reenactments (2010–14). Ngcobo’s writing have been published in various publications including the reader Uneven Bodies,  Govett-Brewster Art Gallery, Aotearoa New Zealand (2021), The Stronger We Become the catalogue of the South African Pavillion, Venice (2019), Public Intimacy: Art and Other Ordinary Acts in South Africa, YBCA/SFMOMA (2014), We Are Many: Art, the Political and Multiple Truths, Verbier Art Summit (2019) and Texte Zur Kunst September 2017. Ngcobo is Curatorial Director at the Javett-UP.  


Wanda Nanibush is an Anishinaabe-kwe image and word warrior, curator and community organizer from Beausoleil First Nation. Currently Nanibush is the inaugural Curator of Indigenous Art and co-head of the Indigenous & Canadian Art Department at Art Gallery of Ontario (AGO), Toronto.  


Her retrospective exhibition Robert Houle: Red is Beautiful is on at the AGO and will tour. Her last AGO exhibition in 2018, Rebecca Belmore: Facing the Monumental, toured internationally as well as two independent projects Nanabozho’s sisters(Dalhousie) andSovereign Acts (JMB). Nanibush founded aabaakwad, in 2018 which will take place in Venice, Italy, April 21-26  2022.  


Nanibush has a Masters of Visual Studies from University of Toronto where she has taught graduate courses. On top of many catalogue essays Nanibush has published widely on Indigenous art, politics, history and feminism, and sexuality.