Alexie Glass-Kantor

Glass-Kantor worked as curator for ACMI (Australian Centre for the Moving Image) in Melbourne from 2002 to 2005. In 2005, she worked as Curator-in-Residence at Ssamzie Space, Seoul.[1] From 2005 until 2013, she held the position of Director and Senior Curator at Gertrude Contemporary, Melbourne.[3][4] During this time, Glass-Kantor formed part of the curatorial team of the 7th International Santa Fe Biennale in 2008, and in 2012, with Natasha Bullock, Glass-Kantor co-curated Parallel Collisions, the 12th Adelaide Biennial of Australian Art at the Art Gallery of South Australia in Adelaide, South Australia.[5][6] She served on the board of the National Association for the Visual Arts (NAVA) from 2010 to 2014, and since 2015, Glass-Kantor has been the chair of Contemporary Art Organisations Australia (CAOA).[7][8]

In December 2013, Glass-Kantor was appointed Executive Director of Artspace, in Sydney’s Woolloomooloo. In a 2013 interview with Ocula Magazine, Glass-Kantor said that a goal during her tenure at Artspace was to engage in collaborative projects alongside fellow institutions in the Asia-Pacific region.[1] Since 2015, Glass-Kantor has been the curator for Art Basel Hong Kong’s Encounters section, the sector dedicated to large-scale installations.[9][10][11] International exhibitions Glass-Kantor has curated during her time as Artspace Executive Director include Nicholas Mangan: Ancient Lights, Chisenhale Gallery, London, UK (2015),[12][13] Angelica Mesiti: Relay League at Art Sonje, Seoul, South Korea (2019),[14] Taloi Havini: Reclamation at Dhaka Art Summit, Bangladesh (2020),[15] 경로를 재탐색합니다 UN/LEARNING AUSTRALIA at Seoul Museum of Art, South Korea (2021),[16] and Jonathan Jones: untitled (transcriptions of country) at Palais de Tokyo, Paris, France (2021).[17][18]

In 2022, Glass-Kantor curated Marco Fusinato: Desastres at the Australian Pavilion at the 59th La Biennale di Venezia.[19][20][21][22] The Washington Post selected the Australian Pavilion as one of the best three at the 2022 Biennale,[23] although Glass-Kantor explained that she and Fusinato were "much more interested in proposition, in open-ended speculation, in confrontation and giving people the space and agency to decide for themselves, if they do or don't like something, what that means for them."[24] Similarly, Ocula Magazine wrote "People either love or hate this pavilion ... At least they felt something so strongly as to articulate a thought."[25] The exhibition welcomed around 2,000 visitors per day.[26]

Glass-Kantor was born in Sydney, New South Wales, and spent her childhood living in Regional NSW.[27] She holds a Bachelor of Art Theory (Hons) degree from the University of New South Wales (then the College of Fine Arts) with majors in photography and English literature.[26] Her dissertation was marked by Nick Waterlow, who later mentored Glass-Kantor.[27]