Defne Ayas

As announced by the Gwangju Biennale Foundation, Defne Ayas together with Natasha Ginwala will be the Artistic Directors of the 13th edition of the Gwangju Biennale, in 2020.[5] The curatorial duo announced their plans around the exhibition concept around Minds Rising, Spirits Tuning, that has taken into view different forms of intelligence. [6] The exhibition had to be postponed due to Covid19 pandemic to February 2021.[7][8]

At Witte de With (2012-2017), Ayas oversaw a dynamic exhibition and publication program devoted to established and emerging visual artists, writers, and filmmakers from across the globe. With her tenure starting, she commissioned and curated long-term research projects, solo and group exhibitions and ambitious live performance programs, including Kunsthalle for Music by Ari Benjamin Meyers (2017-2018),[9] The Music of Ramon Raquello and his Orchestra by Eric Baudelaire (2017), Öğüt & Macuga by Ahmet Öğüt and Goshka Macuga (2017), The Ten Murders of Josephine by Rana Hamadeh (2017), As If It Were by Bik Van der Pol(2016), Relational Stalinism -The Musical by Michael Portnoy (2016), three-part Art in the Age of…series (with focus on energy and raw materials, asymmetric warfare and planetary computation) (2015), Bit Rot by Douglas Coupland[10] (2015), Character is Fate by Willem de Rooij (2015), Moderation(s) by artist Heman Chong (with Spring, Hong Kong, 2012-2014); Dai Hanzhi: 5000 Artists (with UCCA, Beijing, 2014); The Humans – a theatrical play by writer and artist Alexandre Singh[11] – and its monthly summits Causeries (2012-2013); the open archive and collection Tulkus 1880 to 2018 by artist Paola Pivi (with Castello di Rivoli and Arthub Asia, 2013-2018),[12] Blueprints by Qiu Zhijie (2012) as well as the award-winning exhibition The Temptation of AA Bronson (2013).[13]

Ayas worked on a number of biennial projects such as: Artistic Director of 2020 Gwangju Biennale, together with Natasha Ginwala,[14] curator of the Pavilion of Turkey [15] in the 56th International Art Exhibition, Venice Biennale;[16] co-curator the 6th Moscow Biennale ACTING IN A CENTER IN A CITY IN THE HEART OF THE ISLAND OF EURASIA[17] (with Nicolaus Schafhausen and Bart de Baere); curator of the 11th Baltic Triennale [18] (with Benjamin Cook, LUX, in collaboration with artists Ieva Misevičiūtė and Michael Portnoy ); co-curator of the Istanbul and Bandung city pavilions as part of the Intercity Project of the 9th Shanghai Biennale. Ayas also served as a curatorial advisor to the 8th Shanghai Biennale (China), and as a publication advisor to the 8th Gwangju Biennale (South Korea) in 2010.

Ayas has been a founding curator of PERFORMA, the biennial of visual art performance of New York founded by RoseLee Goldberg, since its inception in 2005. At Performa, Ayas organised numerous projects and programs with an international roster of acclaimed artists, architects, and writers; while overseeing biennial’s architecture, writing and print programs and its consortium relations. She remains a Curator-at-Large (as of 2012).[19]

Ayas also co-founded several independent initiatives, including Arthub Asia – an Asia-wide active research and production initiative (with Davide Quadrio) (2007), producing exhibitions and live productions including operas and performances, within the context of China and rest of Asia. Prior to joining Arthub Asia and Performa, she worked as the Public Programs Coordinator of New Museum of Contemporary Art, New York, especially artists presentations and critical debates relating to contemporary art and new media. (2003-2005)

Ayas is the founding co-curator (with late Neery Melkonian) of Blind Dates Project – an artistic platform that is dedicated to tackling what remains of the peoples, places and cultures of the Ottoman Empire (1299-1923).[20]

She served on many juries including 2019 Venice Biennale International Jury,[21] Prince Claus Awards, and The Eliasson Global Leadership Prize of the Tällberg Foundation. Ayas is a Board member of the Rijksakademie (Amsterdam); Tällberg Foundation; The New Centre for Research & Practice, Collectorspace (Istanbul), Sabanci Museum (Istanbul), SAHA (Istanbul), Protocinema (Istanbul) and Art Review Asia (Beijing); and a curator at large of Spring Workshop (Hong Kong). (2013-2017)

Ayas launched Witte de With’s new online platform WdWReview in 2013,[22] with global editorial desks in Moscow, Istanbul, Delhi/Calcutta, Shanghai, Cairo, and Athens. She is currently, together with writer and curator Adam Kleinman, the Chief Editor of the journal.

She is publisher, editor and contributor to a number of books including:[23]

• Blessing and Transgressing: A Live Institute (2018) by Defne Ayas
• Wdw Review Vol.1.1: Arts, Culture, and Journalism in Revolt (2017) by Defne Ayas and Adam Kleinman
• Wdw Review Vol.1: Arts, Culture, and Journalism in Revolt (2017) by Defne Ayas and Adam Kleinman
• How to Gather: Acting Relations, Mapping Positions'(2017) by Defne Ayas and Bart De Baere
• Were It As If (2017) by Defne Ayas and Bik Van Der Pol
• Causeries (2016) by Alexandre Singh
• Unicorns in a Blueprint (2016) by Qiu Zhijie [24]
• Art in the Age of... (2015) [25]
• Bit Rot (2015) by Douglas Coupland
• Character Is Fate (2015) Piet Mondrian’s Horoscope (Willem de Rooij)[26]
• Respiro by Sarkis (2015)
• End Note(s): Moderation(s) 2012-2014 (2015)
• Erik van Lieshout: Home South (2015)
• Performa 13 (2015)
• The Crime Was Almost Perfect (2014)
• Performa 11: Staging Ideas (2013)
• Performa 09: (2011)
• The Making of Meeting (2013)
• Füsun Onur (2013)
• Performa (2007)

In addition, Ayas has published in art magazines and journals such as Yishu Journal, Mousse, and Creative Time Reports.

Ayas holds a B.A. in Foreign Affairs at University of Virginia and MPS from the Interactive Telecommunications Program New York University. Ayas also completed De Appel Curatorial Programme in Amsterdam in 2005.

• Witte de With Center for Contemporary Art
• Official Twitter Account