Costinaș and Guerrero, who are both now based in Berlin, having organized several exhibitions together over the past decade, including the 2018 Dakar Biennale in Senegal; the 2016–17 show “Soil and Stones, Souls and Songs,” which traveled to Manila, Hong Kong, and Bangkok; and “A Journal of the Plague Year,” an acclaimed exhibition which opened in 2013 at Para Site and Sheung Wan Civic Centre Exhibition Hall in Hong Kong.
The latter exhibition, which was named one of the best shows of the 2010s by ARTnews, reflected on the onset of the SARS epidemic in Hong Kong a decade earlier.
In a joint statement, Costinaș and Guerrero said, “Artists are continuously challenging the codes of representation as well as the world that is being represented. It is our responsibility as curators to find platforms to reflect those varying ideas in an exhibition (as well as other formats and events) that welcomes and belongs to everyone.”
Costinaș and Guerrero also maintain separate curatorial practices.
Costinaș is the curator of the Romanian Pavilion at this year’s Venice Biennale. From 2011 to 2022, he was the director of Para Site, which gained an international following under his leadership. He was also the artistic director Kathmandu Triennale 2022, a curatorial adviser for the 2022 Aichi Triennale, a co-curator of the 2014 Shanghai Biennale, and editor of the Documenta 12 Magazines project from 2005 to 2007.
Guerrero currently teaches in the curatorial studies program at the Royal Academy of Fine Arts-KASK in Ghent. From 2016 to 2020, he was the Estrellita B. Brodsky adjunct curator at Tate in London. He was the curator of the 2018 EVA International biennial exhibition in Ireland, and other curatorial credits include “A Chronicle of Interventions” at Tate Modern in 2014 and “A Transatlantic Affair. Josephine Baker and Le Corbusier” at the Museum of Art of Rio-MAR in Rio de Janeiro in 2014.
In a statement, Barbara Moore, the Biennael’s CEO, said, “I am thrilled to be working with Cosmin Costinaș and Inti Guerrero—highly respected curators both together and independently with a deep understanding of the international and Australian creative landscapes. The Biennale of Sydney is a participatory platform designed to present the best in contemporary art from around the world, inviting discussion and shared learning about the joys and challenges of our time.”
In their statement, Costinaș and Guerrero also hinted at their vision for the upcoming Sydney Biennale, saying they want “to create a space that examines the past and present through multiple art languages, from places of struggle and resistance to collective joy, while celebrating and respecting place. As exhibitions are reflections of different ways of seeing reality, the scenographic vocabulary of exhibition-making also needs to reflect the multiplicity of visual regimes that form the lived experience of most people in the world. Such an approach will challenge audiences to learn, celebrate, be inspired, and experience the awe and the magic art is capable of.”