Professor Ute Meta Bauer is the Founding Director of NTU Centre for Contemporary Art Singapore (NTU CCA Singapore) and Professor at Nanyang Technological University (NTU), School of Art, Design and Media. She was educated at the Hochschule für Bildende Künste Hamburg. She was formerly Associate Professor in the Department of Architecture at MIT (Massachusetts Institute of Technology), Cambridge, where she also served as Founding Director of the MIT Program in Art, Culture, and Technology (2005-2012). From 2012–2013, she was the Dean of Fine Art at the Royal College of Art, London, UK. 
Bauer was Co-Curator for Documenta11 (2001/2002) and Artistic Director for the 3rd Berlin Biennale for Contemporary Art (2004). As Founding Director of the Office for Contemporary Art Norway (2002-05), she was also Commissioner for the Nordic Pavilion at the 50th Venice Biennale (2003) and the Norwegian contribution for the 26th São Paulo Biennale (2004). Most recently, in 2015, she co-curated with MIT List Centre for Visual Art Director Paul Ha the US Pavilion at the 56th Venice Biennale, presenting the eminent artist, Joan Jonas. The exhibition was honoured with a special mention. For NTU CCA Singapore, she curated Paradise Lost (with Anca Rujoiu) featuring Zarina Bhimji, Trinh T. Minh-ha and Fiona Tan; Theatrical Fields – Critical Strategies in Performance, Film and Video (with Anca Rujoiu, commissioned by Bildmuseet Umeå, Sweden), Yang Fudong: Incidental Scripts (with Khim Ong), Simryn Gill: Hugging the Shore (with Anca Rujoiu), Allan Sekula: Fish Story, to be continued (with Anca Rujoiu), Tomas Saraceno: Arachnid Orchestra.Jam Sessions (with Anca Rujoiu) and Joan Jonas: They Come to Us without a Word. Bauer has edited numerous publications in the field of contemporary art, most recently Intellectual Birdhouse, Artistic Practice as Research (co-edited with Florian Dombois, Michael Schwab and Claudia Mareis, 2012), World Biennale Forum No 1 – Shifting Gravity (co-edited with Hou Hanru) and AR – Artistic Research (co-edited with Thomas D. Trummer), both 2013.
Bauer also serves on various boards including Iniva London, nbk Berlin, Rockbund Art Museum, Istanbul Biennial and the Bergen Assembly.

Dr. Brian Dillon is part-time Reader in Critical Writing in Art and Design at the Royal College of Art, where he teaches on the two-year MA in Critical Writing, in addition to supervising a number of PhD candidates and MA dissertations. From 2008 to 2011, he was a Research Fellow in the Creative and Performing Arts at the School of English at the University of Kent, working on a project entitled ‘Ruins of the Twentieth Century’, involving a literary response to sites, landscapes and ideas of modern ruin. This led to a number of publications, including a novella, Sanctuary (Sternberg Press, 2011); an anthology of artists’ writings and theory, Ruins (MIT Press/Whitechapel, 2011); and The Great Explosion (Penguin, 2015), which was a substantial work of creative non-fiction on a specific site. The project also produced essays on the broad subject of culture and ruins for publications such as Cabinet, Artforum, frieze, The Guardian, the Dublin Review and the London Review of Books.
Since 2001, he has worked as a freelance writer and critic. His first book, Room (Penguin), published in 2005, mixes autobiography with philosophical and cultural reflection on mourning and memory. His second book, Tormented Hope: Nine Hypochondriac Lives (Penguin) – a volume of biographical essays on illness and creativity – was published in 2009. Its subjects include James Boswell, Charlotte Brontë, Marcel Proust, Glenn Gould and Andy Warhol. 
Brian Dillon is UK Editor of Cabinet magazine (a cultural quarterly based in New York), a Contributing Editor and columnist at Art Review magazine and a member of the editorial board of Tate etc. magazine. He has also contributed to a wide range of publications, including the Irish Times, the Dublin Review, the London Review of Books, the Times Literary Supplement, The Guardian, Artforum, Aperture and frieze, as well as several other national newspapers and arts and culture magazines. He has written catalogue essays for institutions such as Tate, the Barbican, the Guggenheim and the Hayward Gallery. His forthcoming publications include Essayism (London: Fitzcarraldo Editions, 2016), on the history and present relevance of the essay as form in literature, art and film; and A Canterbury Tale (London, British Film Institute, 2018), on Powell and Pressburger’s film of the same title.

Philip Tinari assumed the directorship of UCCA in 2011. In this role, he organizes an exhibition program devoted to established figures and rising talents both Chinese and international, as well as a wide range of public and educational programs and development activities, aimed at UCCA’s annual public of nearly a million visitors. In the past four years, he has curated exhibitions at UCCA of artists including William Kentridge, Liu Wei, Sterling Ruby, Matthew Monahan, Kaari Upson, Alex Israel, Pawel Althamer, Xu Zhen/MadeIn Company, Ji Dachun, Tino Sehgal, Taryn Simon, Wang Keping, Teppei Kaneuji, Tehching Hsieh, Wang Xingwei, Kan Xuan, Yung Ho Chang, Yun Fei-Ji, and Gu Dexin among many others.
Prior to joining UCCA he was founding editor of the bilingual art magazine LEAP, published by the leading Chinese publishing group Modern Media. Before that, in addition to independent work as a writer, translator, publisher, and curator, he served in roles including China advisor to Art Basel, lecturer at the Central Academy of Fine Arts, and founding editor of Artforum’s Chinese web edition, where he remains a contributing editor. He speaks and writes Mandarin fluently, and has written and lectured around the world on contemporary art in China. Tinari currently serves on advisory boards to institutions including the Guggenheim, the Asia Society, and NTU Center for Contemporary Art Singapore, and was recently named a Young Global Leader by the World Economic Forum. He holds a B.A. from the Program in Literature at Duke, an A.M. in East Asian Studies from Harvard, was a Fulbright scholar at Peking University.