Henry Meyric Hughes, who chairs the jury, as a non-voting member, is an independent curator, writer and editor. He is Honorary President of the International Association of Art Critics (AICA), Paris and was, until recently, the General Co-ordinator of Council of Europe exhibitions. He was a co-founder of the European Biennial of Contemporary Art (2003), Manifesta and President of the Manifesta Foundation, Amsterdam, from 1996-2007.

From 1968-92 he worked for the British Council in Germany,Peru,France and Italy, ending up as Director of Visiting Arts (1994-96) and Director of Visual Arts (1986-92). He was the British Commissioner for the Venice Biennale and the São Paulo Biennial, 1986-92 (Richard Hamilton, Tony Cragg, AnishKapoor …). He was then Director of the Hayward Gallery, including National Touring Exhibitions and the Arts Council Collection from 1992-96, (exhibitions incl.‘Art and Power: Europe under the Dictators 1930-1945',‘The Spirit of Romanticism in German Art,1790-1990’and ‘The‘British Art Show 4’).

His recent projects include curating a survey exhibition, 'Blast to Freeze: British Art in the Twentieth Century' for Wolfsburg and Toulouse (2002-2003); the Cypriot Pavilion (Nikos Charalambidis) at the 2003 Venice Biennale; a touring exhibition of contemporary art in Norway for Oslo (2005-2006); and 'No Borders, Just N.E.W.S.', a touring exhibition of young European artists, 2008. He co-curated the XXX Council of Europe exhibition, 'The Desire for Freedom: Art in Europe since 1945' for Berlin, Krakow, Tallinn and Milan, with extensions to Sarajevo, Prague, Thessaloniki and Brussels (2012-2015). Recent co-publications include AICA in the Age of Globalisation (AICA Press, 2010) and African Contemporary Art: Critical Concerns / Art Contemporiain Africain: Regards Critiques (AICA Press, 2011, co-ed.). Contributions to recent publications include essays in various languages on Pierre Restany, Herbert Read, Dansaekhwa, curating exhibitions,‘The Reception of British Sculpture Abroad’(Yale) and pan-European aspects of contemporary art. He has taught and written about curating contemporary art and been an external examiner at the ENSBA, Paris and RCA, London.

He has acted as an adviser to UNESCO and as a consultant and general co-ordinator for Council of Europe exhibitions. He is a Board member of the Institute of International Visual Arts (Iniva) and Matt’s Gallery, London, and member of the Advisory Board of the Archives de la critique d’art and editorial committee of the review, Critique d’art, in Rennes, France. He was appointed Officier des Arts et des Lettres by the French Government and the Cross of Merit (Bundesverdienstkreuz) by the President of the Federal Republic of Germany.

Sun Xiangchen is a professor and dean of the School of Philosophy at Fudan University, and also serves as the director of the General Education Center of Fudan University. He is the vice-president of the Chinese Society for the History of Foreign Philosophy, a member of the Steering Committee of the International Federation of Philosophical Societies (Fisp), a council member of the World Congress of Sinology, the vice-chairman of the Shanghai Philosophy Society, and the vice-chairman of the Shanghai Association for Comparative Studies of Chinese and Western Philosophy and Culture, etc. He is also the co-editor of academic journals Modern Foreign Philosophy, General Education Review, Shan Shui（山水）. He has been a visiting scholar and visiting professor in many academic institutions such as Yale University, University of Chicago, Ecole Normale Supérieure, the Free University of Berlin, and the University of Birmingham etc.

His publications include: On Family: Individuals and Kinship (2019), Facing the Other: A Study of Levinas' Philosophical Thought (2008), Political Philosophy and Chinese Theology (co-authored, 2007), Metaphysics in the Seventeenth Century (co-authored, 2006), etc.

In recent years, he has devoted himself to the construction of art disciplines at Fudan University. He has successively established the Center for Philosophy of Art at Fudan University, and the Department of Philosophy of Art at Fudan University. And now, he is preparing to establish the Art Research Institute at Fudan University.

Professor Juan Cruz is the Principal of Edinburgh College of Art, and Design at the Royal College of Art (RCA). He is an artist whose work employs a broad range of approaches to exhibition-making, including video, performance, text and site-specificity.

Prior to joining the RCA, Cruz was the Dean of the Schools of Fine Art, and Director of Liverpool School of Art and Design at Liverpool John Moores University, where he introduced an innovative model of research and knowledge transfer with leading arts organisations, including Tate Liverpool, Liverpool Biennial and Foundation for Art and Creative Technology (FACT).

Also in Liverpool, Cruz facilitated the foundation of the Exhibition Research Centre, which saw the school research and develop a series of leading exhibitions and keynote lectures around the theme of exhibition studies, attracting international audiences, funding and media.

Cruz is a member of the Tate Liverpool Council, a trustee of the John Moores Liverpool Exhibition Trust and a board member of the Liverpool Biennial. He has played a leading role in Arts Council groups tasked with reaching new understandings about the relationship between HEIs and the cultural sector in the UK, leading to funding for 'Artist's City', a project designed to enhance opportunities for artists in Liverpool through better integration of institutions. He was also a trustee of the A Foundation between 2009 and 2011.

Under Cruz's leadership, Liverpool School of Art and Design became a partner in 'The Uses of Art', a €2.5-million European project delivered in collaboration with 'L'Internationale', a key European museum confederation including MACBA in Barcelona, the Reina Sofia in Madrid, MuKHA in Antwerp, Salt in Istanbul, Van abbemuseum in Eindhoven and Moderna Galerija in Slovenia, as well as other collaborating Institutions including Grizedale Arts, University of Hildesheim and KASK in Ghent.

Cruz is a member of the REF (Research Excellence Framework) sub-panel 34 and between 2011 and 2014 was a co-opted member of the executive of CHEAD, the Council for Higher Education in Art and Design. Earlier in his career, between 1999 and 2002, Cruz was also a member of the Arts Council National Touring Programme selection panel, as well as a Member of the London Arts Visual Arts Advisory Group.

Lewis Biggs is a freelance Curator, Writer and Cultural Consultant. He was Director of Liverpool Biennial 2000-2011, having been a founding trustee of the charitable company in 1998. The 2002 Liverpool Biennial Festival 'broke the rules' by focusing on newly commissioned art, much of it for the public realm, researched collaboratively and realised by a team of locally based curators. This approach – and its success - established Liverpool Biennial as an original and significant contributor to the international spectrum of biennales, and the organisational model it established has become influential around the world, as competition between biennales forces them to differentiate their offer.

The success of the 2002 Biennial contributed to Liverpool winning its (2003) bid to be nominated European Capital of Culture 2008. Lewis played an active role in the formation and leadership of Liverpool Art and Regeneration Consortium, which delivered the majority of the City's arts programmes in 2008, and of Culture Campus, which created links between the arts sector and three Liverpool universities.

Lewis was Director of Tate Liverpool from 1990 to 2000 – a decade in which it was the only dedicated Museum of Modern Art in the UK, and at a time when the Tate 'brand' was associated overwhelmingly with the work of Turner and Constable. The programme he initiated in Liverpool introduced contemporary British and International art to new audiences nationally and especially in the North of England. It included groundbreaking art exhibitions from Japan, Korea, North Africa and Sub-Saharan Africa. The programme's structure, and accompanying education programme, were influential on London's Tate Modern when it opened in 2000.

Biggs is now the Curator of the Folkestone Triennial 2017, General Editor of Tate Modern Artists (books on contemporary artists since 2002), International Advisor, School of Fine Arts, Shanghai University and Chair, Organising Committee, International Award for Excellence in Public Art (Shanghai). He was Co-curator, Aichi Triennale 2013, and undertook a consultancy in 2011-2013 with Osage Art Foundation, Hong Kong.

Lewis is a member of the Board of International Advisors to the Rockbund Art Museum, Shanghai, a Visiting Professor of Contemporary Art at Liverpool School of Art and Design (he was awarded an Honorary Fellowship at Liverpool John Moores University in 1998) and an Honorary Professor at Glasgow University (School of Art). He is active as a trustee of several boards including the John Moores Liverpool Exhibition Trust (Painting Competition), Chinese Arts Centre, Manchester, Foundation for Art and Creative Technology (FACT), Liverpool and Situations, Bristol

Ken Neil is Dean of the School of Arts and Humanities at the Royal College of Art, London. Before that, he occupied senior teaching positions at Glasgow School of Art from 1906 to 2019. He studied painting and the history and philosophy of art at Edinburgh College of Art, completing a PhD in art history in 2003. Ken has written extensively on contemporary art and theory and is currently on the editorial board of the Journal of Visual Arts Practice. His research and writing relate to three fields: contemporary art and art theory; issues for creative education; and the visual culture of the everyday.

Ling Min is a tutor of master degree students in modern and contemporary art history at Shanghai Academy of Fine Arts. She used to be a vice-chair of international art critics association ( AICA 2016-2019); now a board member of international art critics award (IAAC ) and a trustee of John Moores Painting Trust. She is also a chief coordinator of FutureLab.

Shen Yubing is Distinguished Professor of History and Philosophy of Art at the School of Philosophy, Chair of the Department of Philosophy of Art, Fudan University. His first degree and academic employment were in the fields of politics and law, and he only switched to the humanities on transferring to Zhejiang University (1997-2016), where he obtained a PhD in art theory.

Shen’s books include his prize-winning Art Criticism in the 20th Century (Hangzhou, 2003, subsequently reprinted 5 times) and Image and Meaning: The Historiography of Modern Anglo-American History of Art (Beijing, 2017). His translations (independently or collaboratively) include Roger Fry, Cézanne; Clement Greenberg,Art and Culture; Leo Steinberg, Other Criteria; Michael Fried,Art and Objecthood; T.J. Clark, The Painting of Modern Life; Thierry de Duve, Kant after Duchamp; Meyer Schapiro,Modern Art: 19th and 20th Centuries; Meyer Schapiro, Theory and Philosophy of Art; Jonathan Crary,Suspensions of Perception.

Shen has received many awards and grants for his translations, including two Awards for outstanding achievement in Humanities and Social Sciences from the China Ministry of Education. He has been visiting scholar at the Faculty of Philosophy, Cambridge University (2001-2002) and visiting professor at Villa I Tatti, Harvard Center for the Italian Renaissance Studies (2013).

Hu Zhe is the Deputy Managing Director of Shanghai JUCE Culture and Media Co., Ltd, He graduated from East China University of Political Science and Law in 2001 and obtained a master degree in Public Administration at Fudan University in 2011. Hu previously worked at the Committee of Communist Youth League in Shanghai, Shanghai Jiushi Tourism (Group) Co., Ltd.. He also served as a secretary-general at the Shanghai Youth Federation, an executive director of the China Young Entrepreneurs Association, and as a vice-chairman of the Shanghai Young Entrepreneurs Association.