Portfolio Reviews

Laurie Hurwitz is an American curator and translator based in Paris for over 20 years. As Senior Curator at the Maison Européenne de la Photographie (MEP), she has organized major retrospectives including Erwin Wurm's first-ever photographic retrospective and Boris Mikhailov: Ukrainian Diary. Her practice often bridges photography with other media, and she has worked with photographers such as William Klein, Annie Leibovitz, Sarah Moon, and Zanele Muholi. She also writes for publications including ARTnews, Frieze, and Art & Auction, and has contributed essays to catalogues published by Actes Sud and Flammarion.

Laurie Hurwitz is an American curator and translator based in Paris for over 20 years. As Senior Curator at the Maison Européenne de la Photographie (MEP), she has organized major retrospectives including Erwin Wurm's first-ever photographic retrospective and Boris Mikhailov: Ukrainian Diary. Her practice often bridges photography with other media, and she has worked with photographers such as William Klein, Annie Leibovitz, Sarah Moon, and Zanele Muholi. She also writes for publications including ARTnews, Frieze, and Art & Auction, and has contributed essays to catalogues published by Actes Sud and Flammarion.

Dr. Hannah Pröbsting holds a PhD from the University of Michigan, Ann Arbor. Since graduating, she has specialized in photography and is currently Curator at the Photo Elysée museum in Lausanne, Switzerland – one of the leading institutions dedicated to the medium – where she has been part of the team since 2017. Her recent curatorial projects include monographic exhibitions on the work of Ferenc Berko, Monique Jacot, and Cindy Sherman.
She is also co-curator of Gen Z: Shaping a New Gaze, an exhibition dedicated to emerging talent and the evolving visual languages of a new generation of photographers.

Emma Bowkett is Director of Photography at the Financial Times Weekend Magazine and an independent curator working on lens-based arts and contemporary visual culture. With a global vision, she works with established and emerging artists across classical and expanded photographic practices, supporting dialogue between different cultural perspectives and creative
approaches.

She is Associate Lecturer at UAL: University of the Arts London, and regularly participates at international workshops, portfolio reviews, festivals and awards.
Emma is a visiting speaker for various photography programmes across the UK and abroad.

Bruno Ceschel is Publishing Director of SPBH Editions, an imprint of MACK, and has published works by authors including Vince Aletti, Carmen Winant, Charlie Engman, and Mari Katayama. He is also the founder and director of Self Publish, Be Happy, the influential platform for visual culture, publishing, and education, which since 2010 has organized events at institutions including Tate Modern, MoMA PS1, and Kunsthal Charlottenborg. Its collection of over 3,000 artists’ books is housed at the Maison Européenne de la Photographie in Paris. Ceschel is a visiting lecturer at École cantonale d’art de Lausanne (ECAL) and Cornell University.

Marie Guillemin is an independent curator specializing in emerging photography, new forms of visual storytelling, and identity-related themes. In 2015, she joined the Fetart collective -organizer of the Circulation(s) festival and other photography exhibitions and events in France and Europe - as artistic director. From 2020 to 2024, she also served as artistic advisor for the Prix Caritas Photo Sociale, where she supported documentary and socially engaged practices addressing contemporary social issues in France. Alongside, she designs and leads training programs for photographer-artists, focusing on structuring, promoting, and disseminating their projects.

Former resident of the Cité Internationale des Arts in Paris 2019, Federica Chiocchetti is its new head of cultural and artistic program since May 2026. Previously she directed the Musée des Beaux-Arts Le Locle (MBAL) in Switzerland from 2022 to 2026. Through transdisciplinary and experimental exhibitions, publications and performances such as L* plaisir du texte, animal instinct, la scia del monte, and monte verdura, she fostered a dialogue between contemporary artists and historical collections, while initiating collaborations with the Fondazione
Monte Verità, the Cabaret Voltaire, and Les Nouveaux Commanditaires. Previously, through her editorial and curatorial platform Photocaptionist, she collaborated with numerous international institutions, festivals, fairs, magazines, and universities, including the V&A, Jeu de Paume, Aperture, L’Uomo Vogue, Paris Photo, the University of Lucerne, Kunsthalle Budapest, and the Tokyo Photography Festival. A nominator for the Bob Calle Artist Book Prize, she also served on the jury for the Swiss Pavilion of Pro Helvetia at the 2026 Venice Art Biennale.
She holds a PhD on the intersections of text and image from the University of Westminster, a master’s degree in comparative literature from University College of London, and a master’s degree in publishing from the Università di Milano and the Fondazione Mondadori. Under the alter ego Candida Desideri, she develops a fictional writing practice—short stories and prose poems—published in Nachbilder: Eine Foto Text Anthologie (Spector Books, Zurich University of the Arts and Fotomuseum Winterthur, 2020) and Der Greif (2015).

François Cheval, born in 1954, is a museum curator, exhibition curator, and historian of photography. Trained in history and ethnology, he has worked as a curator since 1982, first with the museums of the Jura, then at the Musée des Beaux-Arts de Dole, and later at the Musée Léon Dierx on Réunion Island. From 1987 to 1996, he founded and directed the Frac Franche-Comté within the Musée des Beaux-Arts de Dole, before going on to lead the Musée Nicéphore Niépce in Chalon-sur-Saône until 2016. His work there was marked by the conception of numerous retrospectives and exhibitions, as well as by the publication of many books and film scripts related to photography and contemporary art.

In 2017, he co-founded the Lianzhou Museum of Photography in the People’s Republic of China with Duan Yuting, and in 2020 he founded and has since directed the Centre Photographique de Mougins. He is currently overseeing the creation of the photography museum of Mauritius Island.

His expertise spans from heritage conservation to the dissemination of contemporary creation, with particular attention to intercultural dialogue and questions of mediation. François Cheval has also written several film scripts and published numerous essays and exhibition catalogues, collaborating with artists and many international institutions.

June Drevet is an editor, writer, and curator in the field of expanded photography, with a particular interest for artistic practices that subvert and uncover power structures. Since 2024, she has been an editor at Camera Austria International. The quarterly published magazine has been providing its readers with insights into current discourses on the role of photography as a medium and practice of contemporary art, presenting artists who have made extraordinary contributions to the continual development of the medium.

Giada De Agostinis is a photo editor at The New Yorker. Before joining the magazine, she was Aperture's Communications Manager. Prior to that, she worked as communications manager at Photograph magazine and Picter. She was also the editor of Paper Journal, a platform of contemporary photography. She holds an MA in publishing from Oxford Brookes University, UK, and a degree in communications from La Sapienza, University of Rome.

Stamatis Schizakis studied history and theory of art and photography at the University of Derby and art history at Goldsmiths College. He completed his PhD at the University of Sunderland, on the subject of the introduction of new technologies in art in Greece. He works as a curator at the National Museum of Contemporary Art, Athens, since 2005. He has curated the exhibitions Bia Davou, Retrospective (2008) (co-curated with Tina Pandi), George Drivas, (un)documented (2009), Angelo Plessas, The Angelo Foundation: School of Music (2011), Rena Papaspyrou, Photocopies straight through matter (2011), Georgios Xenos, Procession No 163 & Thousand Images (2012), Phoebe Giannisi – TETTIX (2012) Dimitris Alithinos, A Retrospective (2013) (co-curated with Tina Pandi), PLEXUS Petros Moris – Bia Davou – Efi Spyrou (2015) (co-curated with Tina Pandi), Mikhail Karikis - Because we are together (2023), as well as the screening Terrhistories-Greece as part of the 26th Festival instants Video in Marseille (2013). Since 2017, he realizes the First and Last and Always Psiloritis Biennale.

Céline Pévrier is a publisher. Based in the south of France, she has strong ties to Greece. Within sun/sun éditions, the publishing house she founded ten years ago, she creates hybrid books that bridge several disciplines – photography, drawing, graphic design and literature. Her approach to publishing treats the book as a playground. Authors, artists and collaborators engage in dialogue to bring to life narratives of worlds past and future.

She creates organic editorial objects, often akin to artist’s books, where the materials and techniques used are themselves forms of language. In the worlds she curates, narratives take shape both within and beyond the pages, extending from the book to installation and performance.

She explores the connections between the book and its exhibition, the symbolic and temporal functions of each mode of presentation, with form and content conceived as intertwined.

Natasha Christia is a curator, writer and educator based in Barcelona. She holds a BA in archaeology and art history from the National Kapodistrian University of Athens, an MA in modern art and film from the University of Essex and a postgraduate diploma in publishing from the University of Barcelona.

Ηer curatorial research focuses on both the complicity and potential role of the photographic document in the revision of dominant historical narratives and ideological myths. She has curated various exhibitions, among them, AMORE: An Unfinished Trilogy by Valentina Abenavoli (Void/Athens Photo Festival, 2017), Dragana Jurisic: My Own Unknown (Centre Culturel Irlandais, Photo Sant Germain, 2017), Reversiones (Centro de la Imagen, Mexico DF, 2017), Lukas Birk: Travelogue Sammlung (Galerie Lustenau, Austria 2018) and You Are What You Eat (Krakow Photomonth 2019), ACTS I-VII by Oculi, (PHOTO 2022 Ιnternational Festival of Photography-Benalla Gallery, Australia), Kate Nolan: Lacuna (Centre Culturel Irlandais, Photo Sant Germain, 2023. Since 2021, she has been developing thematic areas based on photobooks: Closed Circle-Lived Relation (Panoramic Festival, Barcelona, 2021); War at a Distance (SCAN Festival 2022); and This Story Will Never Get Finished (SCAN Festival 2023). Natasha Christia regularly contributes essays on photography criticism for international publications and for artists. In 2019, she edited with Lukas Birk (Fraglich Publishing) “Gülistan” (winner of the PHotoEspaña Best Photobook Award 2019, International Category). She has been jury members of Unseen Dummy Award, Kassel Dummy Award 2021 and Concurso Fotocanal 2020.

Eduardo Cadava is an author, translator, curator and teacher.
He is Philip Mayhew Professor of English at Princeton University. He is the author of, among other books, Words of Light: Theses on the Photography of History, Paper Graveyards, and, with Sara Nadal-Melsió, Politically Red. He has co-edited Who Comes After the Subject?, Cities Without Citizens, and The Itinerant Languages of Photography. He also has introduced and co-translated Nadar's memoirs, Quand j'étais photographe, which appeared under the title When I Was a Photographer, and has curated installations and exhibitions at the MAXXI Museum in Rome, the Slought Foundation in Philadelphia, Storefront for Art and Architecture in New York, the Al-Ma'mal Center for Contemporary Art in East Jerusalem, and the Princeton University Art Museum.
He is co-directing, with Eyal Weizman, a multiyear project on the relation between political conflict and climate change titled Conflict Shorelines that includes field work in Amazonia, the Negev desert, and the Arctic, and collaborating with Fazal Sheikh on a project titled Exposure that is documenting the ruination of the Utah landscape by uranium mining and oil and gas drilling and the consequences of this ruination on native communities.

An art writer, editor, and curator at the Robert Capa Contemporary Photography Center in Budapest since 2018, Emese Mucsi is currently undertaking a PhD in the Film, Media, and Contemporary Culture program at Eötvös Loránd University. She is also a recipient of the Director’s Fellowship (2026) at the International Center of Photography (ICP), where she is studying Curatorial Practices in Photography. She is the member of Global Photographies Network since 2020, and went on to found DOXA Budapest exhibition space and editorial den in 2022. She is a contributor of various art publications like FOMU’s Trigger magazine (2023), OVER Journal (2025), British Journal of Photography (2025), and The Routledge Companion to Global Photographies book (2025) and Hungary’s leading art magazine, Artmagazin (2012–), Glamour Hungary magazine (2022–). She is a guest lecturer at the Moholy-Nagy University of Art and Design and the University of Szeged. She served as the Artistic Director for Visual Arts at the Hungary L!ve Festival in New York City (2025).

Manolis Moresopoulos has been the Artistic Director and Chief Curator of the Athens Photo Festival since 2010. He is also Director of the Hellenic Center of Photography, an institution dedicated to photographic practice, research, education, and international exchange. Under his guidance, its annual Young Greek Photographers programme has evolved into a multifaceted platform for presentation, networking, and artistic development. Through his initiatives, the Center has also built Greece’s largest photography library. He is also co-founder of the Athens Photo Research Center, an initiative of the Athens Photo Festival / Hellenic Center of Photography.

Across these roles, Moresopoulos has conceived, curated, and overseen numerous exhibitions, publications, and artist-centred programmes, including international exchange projects. He has served as a nominator, jury member, and portfolio reviewer for festivals and cultural institutions internationally. He also regularly gives lectures and leads workshops, sharing his curatorial experience and supporting the next generation of artists working in contemporary photography.

Sylvia Sachini is an Athens-based Greek-Albanian curator, publisher, and art advisor working with photography and lens-based practices. Her work focuses on exhibition-making as a space where research, production, and display converge. She is the curator of the APhF Book Program.

She is the founder of MISC Gallery and co-founder of the Athens Photo Research Center, and has collaborated with institutions including the National Museum of Contemporary Art of Athens, the Benaki Museum, Paris Photo, and The Photographer’s Gallery, among others. Alongside her curatorial practice, she has published numerous photobooks as both editor and publisher, contributing to the development and dissemination of contemporary photographic work.