Madeline Brewer is a curator and program producer based in Meanjin/Brisbane. She is Manager of Public Programs and Education at the Institute of Modern Art, where she leads critical, multidisciplinary public programming across contemporary art, sound, film, and architecture. Prior to joining the IMA, Madeline directed The Condensery, a regional gallery in Toogoolawah, where she curated exhibitions that connected contemporary art with industrial and agricultural histories. Madeline has held positions at Rockhampton Museum of Art, the National Gallery of Australia, and the National Museum of Australia. She holds a Bachelor of Art History and Curatorship from the Australian National University. 

Stephanie Berlangieri is a curator, researcher and writer based in Naarm Melbourne, where she is Curator – Research at Monash University Museum of Art | MUMA. Her research engages with digital technology, labour and formations of subjectivity, and their impacts on contemporary social relations. Her current project examines how recent advancements in artificial intelligence and neurotechnologies are redistributing cognitive processes across human and technical systems. Previously, she has held curatorial positions at Carriageworks, the Museum of Contemporary Art Australia, and the Biennale of Sydney on Gadigal Country/Sydney. Recent exhibitions include Knowing Otherwise (co-curator, MUMA, 2026); Desire Is a Machine (Institute of Modern Art, Brisbane, 2025); Stolon Press: Flat earth (co-curator, MUMA, 2025); and Duty of Care (co-curator, Institute of Modern Art and Griffith University Art Museum, Brisbane, 2024). Stephanie has published with Art Monthly Australasia, ArtAsiaPacific, Artist Profile and Art and Australia.

Con Gerakaris is a curator, arts administrator and writer. His areas of interest frequently revolve around social phenomena, subcultures, contemporary urban experiences and our relationship to the built environment. Con has curated 19 exhibitions for 4A Centre for Contemporary Asian Art, including High Tides: Yuki Kihara and Morgan Hogg (2026); An Offering, A Burning, A Prayer (2026); A Tear in the Fabric (Bathurst Regional Art Gallery, 2025); Dr Christian Thompson AO: House of Gold (2024, touring); The Womanifesto Way: Sydney Gathers (2023); Louise Zhang: No dust left in the lilies (2023); and NO FALSE IDOLS (2022). He has also independently curated exhibitions at China Heights and Verge Gallery, and published articles for 4A Papers, un. extended, Runway Conversations and Art Collector. Con completed a Bachelor of Arts (Honors) in 2013 and a Master of Art Curating in 2016 at the University of Sydney.  

Roni Judge develops and delivers nationally touring exhibitions as Visual Arts Manager at Artback NT, connecting remote Northern Territory artists with audiences across Australia. With a strong background in arts programming and project management, Roni brings a collaborative and community-focused approach to their work. They are committed to supporting diverse artistic voices and facilitating meaningful cultural exchange through contemporary visual arts practice. Roni's practice is grounded in storytelling, relationship-building, and strategic development, ensuring artists are supported to reach broad and engaged audiences. Roni continues to advocate for the visibility and accessibility of arts practice in regional Australia. 

Zali Morgan is a Noongar woman with ancestral connections to Whadjuk, Balladong, and Wilman Boodjar. Born and raised near Wooditchup on Wardandi Boodjar, she is now based near Boorloo. An artist, curator, and cultural worker, Zali is passionate about working with Aboriginal and Torres Strait Islander art, with a particular focus on elevating Noongar artists and practices. Her work is grounded in decolonising approaches to curatorial and institutional practice, advocating for Aboriginal sovereignty, cultural continuity, and community-led storytelling within the arts sector. She has collaborated extensively with artists, communities, and collections across Western Australia to develop exhibitions and cultural projects that centre First Nations voices and perspectives.  

Zali has contributed to major exhibitions and initiatives including All That Country Holds, launched in Washington DC, and Revealed 2025 and 2026. She was the Community Artist for Place Names Melville (2023–2024), and Creative Producer for PlaceNames Bayswater (2024–2025) and Mapping Menang (2025–2026). Zali has curated several exhibitions at various institutions in Western Australia, including Perth Institute of Contemporary Art, Fremantle Arts Centre, John Curtin Gallery, Edith Cowan University Gallery, and Bunbury Regional Art Gallery, as well as at the National Art School in Sydney, NSW.  

She currently serves on the boards of Community Arts Network, Cool Change Contemporary ARI and Vessel Contemporary. Zali holds a Bachelor of Creative Arts (Visual Arts) and has worked extensively across the arts sector over the past five years, including as Assistant Curator at the Art Gallery of Western Australia (AGWA). She is currently Curator of the Carrolup Collection at John Curtin Gallery and Program Co-Curator for IOTA27.  

Saskia Scott is a curator based on Boandik Country in Berrin/Mount Gambier. Her research centres on contemporary Australian art, with a focus on performance, sculpture, and craft practices. Saskia is currently the Assistant Curator at The Riddoch Arts & Cultural Centre.   

Saskia returned to South Australia from Kamberri/Canberra in June 2025, where she held positions at the National Gallery of Australia, the Museum of Australian Democracy at Old Parliament House, and the Australian National University School of Art and Design Gallery. Prior to this, Saskia was the Arts Officer for the Women’s and Children’s Hospital Foundation in Tarntanya/Adelaide. She holds a Bachelor of Visual Arts (Ceramics) from the University of South Australia, a Bachelor of Arts (Politics and International Studies, and Spanish and Hispanic Studies) from the University of Adelaide, and a Diploma in Art History from the University of Adelaide. 

Zara Sully lives and works near the banks of the Kanamaluka in Lutruwita (Launceston, Tasmania). They are an artist, organiser, curator, writer, and researcher working across artist-run and independent infrastructures. Their practice operates in the grey space between modes, with emphasis on collaboration, institutional structures, and the contradictions that shape and inform artist-led practice.  

Current projects include Ways of Knowing (2022-ongoing), a collaboration between the University of Tasmania and Sawtooth ARI. Sully is a PhD researcher at the University of Sydney and has served as the Director of Sawtooth ARI since 2021.    

Dan Toua is an arts worker and independent curator living and working on unceded Ngunnawal and Ngambri Country. She currently works at the ANU School of Art & Design Gallery and has previously held roles as a Curator of Pacific Art at the National Gallery of Australia and Associate Curator and Gallery Manager at Canberra Contemporary. She is also a sessional lecturer in Art History and Curatorial Studies and a PhD student at the Humanities Research Centre at the Australian National University. 

Dan’s doctoral research examines the curation of Pacific cultural materials in Australian national cultural institutions, with the aim of developing a Curatorial Handbook to support sustainable, relevant, culturally responsive curatorial practice. As a first-generation Australian with Indian, Papua New Guinean, and Fijian heritage, she centres her practice on cultural autonomy, reciprocal relationships, and knowledge sharing. She hopes that her work can contribute to the reimagining of cultural collections, exhibitions, and curatorial methodologies through anti-colonial and (re)Indigenised approaches.