CURATORS E MODERATORS
Each year, FUSO invites internationally renowned curators to develop exclusive programmes for the festival. Each curator is responsible for one session, presenting a selection of works guided by a specific theme.
In parallel, leading figures from the cultural field are also invited to foster discussions around video art and to moderate conversations with the curators before each session, contributing to a deeper engagement and understanding for the audience.
The daily interaction between curators and artists throughout the festival week encourages encounters and the formation of numerous partnerships, generating an active network of connections and collaborations.
Jean-François Chougnet (France) is the artistic director of FUSO and has dedicated his career to cultural policy. He was Director-General of the Parc de la Villette, Paris (2001–2006). He directed the Berardo Museum in Lisbon from 2007 to 2011. In 2011, Jean-François Chougnet became director of Marseille-Provence 2013, European Capital of Culture. From 2014 to 2022 he served as president of the Musée des Civilisations de l’Europe et de la Méditerranée (Mucem) in Marseille, France. He is a curator and consultant on museum projects and president of Bourges 2028 European Capital of Culture.
Bruno Z’Graggen holds a PhD in Social History and studied Social and Art History at the University of Zurich. In 2001, he obtained a Certificate of Advanced Studies (CAS) in Cultural Management and Audiences from the Lucerne University of Applied Sciences and Arts.
Since 2002, he has worked as a freelance curator and consultant, initially focusing on Mozambican photography. In this context, he contributed to the Calouste Gulbenkian Foundation’s Próximo Futuro programme in 2013.
From 2006 to 2023, he served part-time (50%) as Head of the Research Promotion Office at the University of Lucerne. In 2012, he shifted his curatorial focus to video art and founded the platform Video Window. In 2017, he undertook a six-month research stay at Videobrasil in São Paulo, further deepening his engagement with international video art networks.
Further information:https://brunozgraggen.ch
João Mourão and Luís Silva have worked as a curatorial duo since 2009. They are Co-Directors of Kunsthalle Lissabon, which they founded that same year. They curated the Portuguese Pavilion at the 59th Venice Biennale (2022) with Vampires in Space by Isadora Neves Marques.A selection of recent curatorial projects includes solo exhibitions by Inês Zenha (Museo Centro de Arte Dos de Mayo, Madrid), Mounira Al Solh (Serralves Museum, Porto), Jonathas de Andrade (CRAC Alsace, Altkirch, France and MAAT, Lisbon, Portugal), Manuela Solano (Pivô, São Paulo, Brazil), Pedro Barateiro (Fundação Carmona e Costa, Lisbon, Portugal), and Carla Filipe (MAAT, Lisbon, Portugal). As Co-Directors of Kunsthalle Lissabon, they have presented solo exhibitions by Teresa Solar, La Chola Poblete, Sara Sadik, Inês Zenha, Gabriel Chaile, Sheroanawe Hakihiiwe, Ad Minoliti, Zheng Bo, Laure Prouvost, Caroline Mesquita, Sol Calero, Petrit Halilaj, and Naufus Ramírez-Figueroa, among others. They were curators of ZONA MACO SUR (2015–2017), the solo projects section of the contemporary art fair in Mexico City; the Disegni section of Artissima (2017–2019) in Turin; and the Performance section of Art Dubai (2019) in Dubai. They have participated in panel discussions on curatorial practices and institutional models in cities such as New York, Oslo, London, Beirut, Cairo, Madrid, Porto, among many others. In addition to their curatorial practice, João Mourão and Luís Silva regularly contribute to various publications and have edited several monographs.
ph: @Bruno Lopes
Pascale Cassagnau has a PhD in Art History and is an art critic. Since 2008, she has been responsible for the audiovisual and new media collections at the Centre National des Arts Plastiques (National Center for Visual Arts) of the French Ministry of Culture. Her research focuses on new cinematographic practices and their cross-dialogue with contemporary creation. She has published, among others: Enquêtes sur le troisième cinéma (Éd. Isthmes), Un Pays Supplémentaire (Éd., École Nationale des Beaux-Arts, Paris), about the role of contemporary creation in the architecture of the media. Intempestif. Indépendant, fragile. Marguerite Duras et le cinéma d’art contemporain was published by Presses du Réel (2012). She is also the author of essays on Apichatpong Weerasethakul, Peter Handke, Jean-Marie Straub and Danièle Huillet, Chantal Akerman, and Alexander Kluge. Diagramme Monteiro, an essay about the filmmaker João César Monteiro, written in collaboration with Hugues De Cointet, has just been published by Presses du Réel (2025).
Lori Zippay is a New York-based curator, writer, and consultant who has long been active in media art exhibition, distribution, education, and preservation. From 1985 to 2019 she served as Executive Director of Electronic Arts Intermix (EAI), a nonprofit organization that is an international resource for media art, and she is now Director Emerita. During her tenure at EAI she developed its archive of over 4,000 media artworks, initiated its pioneering video preservation program, inaugurated and co-authored its online publications and digital resources, and established long-range artistic programs. She has curated numerous media-based exhibitions and video screening programs, including the survey Circa 1971: Early Film & Video from the EAI Archive for Dia: Beacon in 2012. She has lectured at institutions and presented at conferences internationally, including at The Museum of Modern Art, New York; Tate Modern, London; and Centre Georges Pompidou, Paris. She has developed and consulted on numerous curatorial, preservation, and educational projects with emerging and established artists at venues such as Yale University. She has written extensively on media and video art for international exhibitions and publications, including essays on the work of Joan Jonas, Shigeko Kubota, Nancy Holt and other artists. Since 2013 she has served as in-house curator at FUSO, Portugal.
Isabel Nogueira (b. 1974) holds a PhD in Fine Arts, specialization in Art Sciences (University of Lisbon) and a post-doctorate in History and Theory of Contemporary Art and Image Theory (Université Paris 1-Panthéon Sorbonne). She is a contemporary art historian and critic, teacher and essayist. She is a professor at the National Society of Fine Arts, integrated researcher at CIEBA / Faculty of Fine Arts / University of Lisbon, member of the International Association of Art Critics (AICA). She is an art critic for the magazine Contemporânea and a contributor to the magazine Recherches en Esthétique. She is editor/Diretor of the academic journal Arte e Cultura Visual (CIEBA / Faculty of Fine Arts / University of Lisbon). Recent books: Theories of art: from modernism to the present (BookBuilders, 2019, 2nd ed. 2020); Zona de Rebentação (BookBuilders, 2020); How can ‘this’ be art? Brief essay on art criticism and judgment of taste (Húmus, 2020); History of art in Portugal: from Marcelismo to the end of the 20th century (BookBuilders, 2021); Art Criticism or the Space Between the Work and the World: Chosen Criticism (Húmus, 2021); Histoire de l’art au Portugal, 1968-2000 (Éditions de l’Harmattan, 2022).
Cristiana Tejo co-run NowHere, an experimental initiative for research and practices in Contemporary Art in Lisbon, and curator of the residency programs at Hangar – Center for Artistic Research. She is a researcher at the Institute of Art History at Universidade Nova de Lisboa. She co-curated the exhibitions É bonita a festa, pá! at the Bienal de Cerveira (2024) and Flecha – Mercedes Lachmann at the International Museum of Contemporary Sculpture in Santo Tirso (2023). She was part of the curatorial team for the Panorama da Arte Brasileira 2022 at the Museum of Modern Art of São Paulo. She curated the exhibition João Câmara: Nota Nova – Ecos de 1967 at Galeria Marco Zero in Recife (2022). She also curated R-humor – Catarina Simão at Galeria Avenida da Índia (2020) and co-curated La Piedra Pregunta, la Tierra Responde at Casa do Brasil in Madrid. Previously, she was the coordinator of public programs (2009-2011) and curator of visual arts (2002-2006) at Fundação Joaquim Nabuco in Recife. She served as the Director of the Aloísio Magalhães Museum of Modern Art (2007-2009), Curator of Rumos Artes Visuais at Itaú Cultural (2005-2006), Curator at Torre Malakoff (2003-2006), and Curator of the 46th Pernambuco Visual Arts Salon (2004-2005). She also curated the Special Room for Paulo Bruscky at the 10th Havana Biennial. She is the author of Paulo Bruscky – Arte em todos os sentidos (2009) and co-organized the Visual Artist’s Guide – Insertion and Internationalization, published by the Brazilian Ministry of Culture in partnership with UNESCO (2018).
Jean-François Chougnet
Jean-François Chougnet (France) is the artistic director of FUSO and has dedicated his career to cultural policy. He was Director-General of the Parc de la Villette, Paris (2001–2006). He directed the Berardo Museum in Lisbon from 2007 to 2011. In 2011, Jean-François Chougnet became director of Marseille-Provence 2013, European Capital of Culture. From 2014 to 2022 he served as president of the Musée des Civilisations de l’Europe et de la Méditerranée (Mucem) in Marseille, France. He is a curator and consultant on museum projects and president of Bourges 2028 European Capital of Culture.
Bruno Z'Graggen
Bruno Z’Graggen holds a PhD in Social History and studied Social and Art History at the University of Zurich. In 2001, he obtained a Certificate of Advanced Studies (CAS) in Cultural Management and Audiences from the Lucerne University of Applied Sciences and Arts.
Since 2002, he has worked as a freelance curator and consultant, initially focusing on Mozambican photography. In this context, he contributed to the Calouste Gulbenkian Foundation’s Próximo Futuro programme in 2013.
From 2006 to 2023, he served part-time (50%) as Head of the Research Promotion Office at the University of Lucerne. In 2012, he shifted his curatorial focus to video art and founded the platform Video Window. In 2017, he undertook a six-month research stay at Videobrasil in São Paulo, further deepening his engagement with international video art networks.
Further information:https://brunozgraggen.ch
João Mourão e Luís Silva
João Mourão and Luís Silva have worked as a curatorial duo since 2009. They are Co-Directors of Kunsthalle Lissabon, which they founded that same year. They curated the Portuguese Pavilion at the 59th Venice Biennale (2022) with Vampires in Space by Isadora Neves Marques.A selection of recent curatorial projects includes solo exhibitions by Inês Zenha (Museo Centro de Arte Dos de Mayo, Madrid), Mounira Al Solh (Serralves Museum, Porto), Jonathas de Andrade (CRAC Alsace, Altkirch, France and MAAT, Lisbon, Portugal), Manuela Solano (Pivô, São Paulo, Brazil), Pedro Barateiro (Fundação Carmona e Costa, Lisbon, Portugal), and Carla Filipe (MAAT, Lisbon, Portugal). As Co-Directors of Kunsthalle Lissabon, they have presented solo exhibitions by Teresa Solar, La Chola Poblete, Sara Sadik, Inês Zenha, Gabriel Chaile, Sheroanawe Hakihiiwe, Ad Minoliti, Zheng Bo, Laure Prouvost, Caroline Mesquita, Sol Calero, Petrit Halilaj, and Naufus Ramírez-Figueroa, among others. They were curators of ZONA MACO SUR (2015–2017), the solo projects section of the contemporary art fair in Mexico City; the Disegni section of Artissima (2017–2019) in Turin; and the Performance section of Art Dubai (2019) in Dubai. They have participated in panel discussions on curatorial practices and institutional models in cities such as New York, Oslo, London, Beirut, Cairo, Madrid, Porto, among many others. In addition to their curatorial practice, João Mourão and Luís Silva regularly contribute to various publications and have edited several monographs.
ph: @Bruno Lopes
Pascale Cassagnau
Pascale Cassagnau has a PhD in Art History and is an art critic. Since 2008, she has been responsible for the audiovisual and new media collections at the Centre National des Arts Plastiques (National Center for Visual Arts) of the French Ministry of Culture. Her research focuses on new cinematographic practices and their cross-dialogue with contemporary creation. She has published, among others: Enquêtes sur le troisième cinéma (Éd. Isthmes), Un Pays Supplémentaire (Éd., École Nationale des Beaux-Arts, Paris), about the role of contemporary creation in the architecture of the media. Intempestif. Indépendant, fragile. Marguerite Duras et le cinéma d’art contemporain was published by Presses du Réel (2012). She is also the author of essays on Apichatpong Weerasethakul, Peter Handke, Jean-Marie Straub and Danièle Huillet, Chantal Akerman, and Alexander Kluge. Diagramme Monteiro, an essay about the filmmaker João César Monteiro, written in collaboration with Hugues De Cointet, has just been published by Presses du Réel (2025).
Lori Zippay
Lori Zippay is a New York-based curator, writer, and consultant who has long been active in media art exhibition, distribution, education, and preservation. From 1985 to 2019 she served as Executive Director of Electronic Arts Intermix (EAI), a nonprofit organization that is an international resource for media art, and she is now Director Emerita. During her tenure at EAI she developed its archive of over 4,000 media artworks, initiated its pioneering video preservation program, inaugurated and co-authored its online publications and digital resources, and established long-range artistic programs. She has curated numerous media-based exhibitions and video screening programs, including the survey Circa 1971: Early Film & Video from the EAI Archive for Dia: Beacon in 2012. She has lectured at institutions and presented at conferences internationally, including at The Museum of Modern Art, New York; Tate Modern, London; and Centre Georges Pompidou, Paris. She has developed and consulted on numerous curatorial, preservation, and educational projects with emerging and established artists at venues such as Yale University. She has written extensively on media and video art for international exhibitions and publications, including essays on the work of Joan Jonas, Shigeko Kubota, Nancy Holt and other artists. Since 2013 she has served as in-house curator at FUSO, Portugal.
Isabel Nogueira
Isabel Nogueira (b. 1974) holds a PhD in Fine Arts, specialization in Art Sciences (University of Lisbon) and a post-doctorate in History and Theory of Contemporary Art and Image Theory (Université Paris 1-Panthéon Sorbonne). She is a contemporary art historian and critic, teacher and essayist. She is a professor at the National Society of Fine Arts, integrated researcher at CIEBA / Faculty of Fine Arts / University of Lisbon, member of the International Association of Art Critics (AICA). She is an art critic for the magazine Contemporânea and a contributor to the magazine Recherches en Esthétique. She is editor/Diretor of the academic journal Arte e Cultura Visual (CIEBA / Faculty of Fine Arts / University of Lisbon). Recent books: Theories of art: from modernism to the present (BookBuilders, 2019, 2nd ed. 2020); Zona de Rebentação (BookBuilders, 2020); How can ‘this’ be art? Brief essay on art criticism and judgment of taste (Húmus, 2020); History of art in Portugal: from Marcelismo to the end of the 20th century (BookBuilders, 2021); Art Criticism or the Space Between the Work and the World: Chosen Criticism (Húmus, 2021); Histoire de l’art au Portugal, 1968-2000 (Éditions de l’Harmattan, 2022).
Cristiana Tejo
Cristiana Tejo co-run NowHere, an experimental initiative for research and practices in Contemporary Art in Lisbon, and curator of the residency programs at Hangar – Center for Artistic Research. She is a researcher at the Institute of Art History at Universidade Nova de Lisboa. She co-curated the exhibitions É bonita a festa, pá! at the Bienal de Cerveira (2024) and Flecha – Mercedes Lachmann at the International Museum of Contemporary Sculpture in Santo Tirso (2023). She was part of the curatorial team for the Panorama da Arte Brasileira 2022 at the Museum of Modern Art of São Paulo. She curated the exhibition João Câmara: Nota Nova – Ecos de 1967 at Galeria Marco Zero in Recife (2022). She also curated R-humor – Catarina Simão at Galeria Avenida da Índia (2020) and co-curated La Piedra Pregunta, la Tierra Responde at Casa do Brasil in Madrid. Previously, she was the coordinator of public programs (2009-2011) and curator of visual arts (2002-2006) at Fundação Joaquim Nabuco in Recife. She served as the Director of the Aloísio Magalhães Museum of Modern Art (2007-2009), Curator of Rumos Artes Visuais at Itaú Cultural (2005-2006), Curator at Torre Malakoff (2003-2006), and Curator of the 46th Pernambuco Visual Arts Salon (2004-2005). She also curated the Special Room for Paulo Bruscky at the 10th Havana Biennial. She is the author of Paulo Bruscky – Arte em todos os sentidos (2009) and co-organized the Visual Artist’s Guide – Insertion and Internationalization, published by the Brazilian Ministry of Culture in partnership with UNESCO (2018).
