Basel

Since 2012, Sabine Himmelsbach is director of HEK (House of Electronic Arts) in Basel. After  studying art history in Munich she worked for galleries in Munich and Vienna from 1993–1996 and  later became project manager for exhibitions and conferences for the Steirischer Herbst Festival in  Graz, Austria.

In 1999 she became exhibition director at the ZKM | Center for Art and Media in  Karlsruhe. From 2005–2011 she was the artistic director of the Edith-Russ-House for Media Art in  Oldenburg, Germany. 2011 she curated gateways. Art and Networked Culture for the Kumu Art  Museum in Tallinn as part of the European Capital of Culture Tallinn 2011 program. Her exhibitions  at HEK in Basel include Ryoji Ikeda (2014), Poetics and Politics of Data (2015), Rafael Lozano Hemmer: Preabsence (2016), unREAL (2017), Lynn Hershman Leeson: Anti-Bodies, Eco-Visionaries (2018), Entangled Realities. Living with Artificial Intelligence (2019), Making FASHION Sense and  Real Feelings. Emotion and Technology (2020), Anne Dukhee Jordan, Collective Worldbuilding: Art  in the Metaverse, Exploring the Decentralized Web: Art on the Blockchain (2023) and Libby Heaney: Quantum Soup (2024). 2021 she realized the Online exhibition and conference Hybrid by Nature. Human.Machine.Interaction in collaboration with Goethe-Instituts of East Asia. In 2022 she curates  Earthbound – In Dialoge with Nature for the European Capital of Culture Esch-sur-Alzette in  Luxembourg. As a writer and lecturer she is dedicated to topics related to media art and digital culture.

Dar es Salaam

Princely Hope-Glorious is a Tanzanian leader in immersive media technologies, storytelling, culture, and the creative industries, pioneering the use of VR, AR, and AI to expand how African narratives are created, preserved, and shared.

As the Founding Partner and Director of OnaStories Group, he has spent the past 13+ years producing emerging media formats and designing systems that enable African stories. He has been at the forefront of digital transformation and participatory storytelling, working with UNESCO, The World Bank, Meta, UNHCR, WFP, UNCDF, DW Akademie, and Tanzania’s National Museum on projects ranging from cultural archiving and immersive media to national storytelling frameworks.

He has served as Communications Director for the United States–Tanzania ICT Partnership, led national campaigns on maternal nutrition, launched Tanzania’s first-ever Augmented Reality story gallery, and built myriad platforms for communities to document and shape their own narratives.

Recognized as an Institut Français Digital Culture Leader (2024), CDEA Creative Economy Leader (2024), Aga Khan Media Futures Innovator-in-Residence (2020), and East Africa Media Lab Fellow (2017), Princely’s focus is on redefining how stories move between people, institutions, and the technologies of the future.

He is currently founding Desturi Culture Lab, an initiative exploring African aesthetic heritage, material culture, creative practices, and the cultivation of slow, designed desire.

Doha

Dr. Alfredo Cramerotti is a cultural entrepreneur working at the crossroads of modern and contemporary art, media and technology. He is the director of Media Majlis Museum (mm:museum) at Northwestern Qatar, where he explores the convergence of these fields in shaping contemporary narratives. Cramerotti also serves as president of the International Association of Curators of Contemporary Art (IKT); chair of digital strategies for the International Association of Art Critics (AICA); and as an advisor to institutions such as the British Council Visual Arts Acquisition Committee; the UK Government Art Collection; and the Italian Ministry of Culture for the Italian Council Program.

Cramerotti’s curatorial projects include co-leading global initiatives such as Noor Riyadh, Art Dubai Digital, The Lumen Prize and Maxxi-Bvlgari Prize (all 2024). He has also co-curated four national and collateral pavilions at the Venice Biennale, including Malaysia (2022); Mauritius (2015); Maldives (2013); and Wales (2013). His past major exhibitions have spanned from Sean Scully at the Hong Kong Arts Centre (2018) to Shezad Dawood at ISMAR/Querini Stampalia Venice (2017), and biennials like Sequences VII, Iceland (2015) and Manifesta 8, Spain (2010), as well as more than 100 institutional exhibitions directly curated as director of Mostyn contemporary art museum, UK (2011-23) and as senior curator at Derby QUAD, UK (2008-11).

With more than 200 published texts, Cramerotti has extensively explored the intersection of art, media, and technology and the impact of globalization on contemporary culture. He is the Editor-in-Chief of the Critical Photography book series (Intellect Books) and the author of five books, including The Possibility of an Image (forth. 2025), Curating the Image (2020) and Aesthetic Journalism (2009).