Ursula Burke (b. Ireland)
Ursula Burke is an Irish artist who grew up in the Republic of Ireland and later lived in post-conflict Northern Ireland and uses this experience of living as a part of two cultures as a starting point to develop a dynamic practice that reflects on aesthetics and ethics of different cultures. Her work incorporates porcelain sculpture, soft sculpture, embroidery, and drawing, to investigate identity politics of historical and colonial eras ranging from tradition to modernity. Burke explores precarity in the social realm, power relations in the political arena, and post-conflict histories relative to Northern Ireland. Her work creates a conceptual bridge between antiquity and the contemporary, mining art historical tropes of representation and display. Mediated through craft-based processes re-configured in a fine art context, her approach destabilises conventions around traditional techniques of making by using unexpected juxtapositions of materials, processes, and images with a desire that bends towards the surreal.

Alán Carrasco (b. Spain)
Alán Carrasco is a visual artist and holds an international PhD in History and Theory of the Arts from the University of Barcelona. In his thesis, he analyzes the concepts of iconoclasm, symbolic organization of the public space and collective memory as reflected in socio-political events ranging from 1949 to 1991 in East Germany. His artistic production is conceptually intertwined with this theoretical research. In recent years, he has created a body of work focused on the mechanisms by which official stories are constructed, with a particular focus on some of their strategies of narration, such as selective inducement of memory and forgetting, and even more specifically on the function of iconoclasm within this particular technology of power. He is especially interested in the margins of historical accounts, and in analyzing the reasons why some aspects and participants were systematically eliminated from these accounts. In more recent projects, he has also worked with aspects of what he calls possibilities of history, that is, events the authenticity of which we cannot be sure about, but which are nevertheless plausible. Represented by ADN Galeria, Barcelona (ES).

Lana Čmajčanin (b.Sarajevo, Bosnia and Herzegovina)
Lana Čmajčanin, born in Sarajevo, Bosnia and Herzegovina, Lana Čmajčanin (b. 1983) holds a Master’s degree in Sculpture from the Academy of Fine Arts, University of Sarajevo, and is pursuing a PhD at the Academy of Fine Arts in Vienna. She lives and works between Sarajevo and Vienna. Her multidisciplinary practice spans installation, video, sound, photography and media art, focusing on geopolitical mapping, social power structures and the politics of memory. Working closely with archival materials, she exposes the politics of dominant knowledge and imperial structures, examining how history is recorded, framed and instrumentalised. Through extensive research, she investigates historical events and personal histories within the complex socio‑political context of the Balkans, addressing responsibility, manipulation, and structural and gendered violence. Her work challenges dominant narratives, empowers women’s agency and foregrounds marginalised voices. Čmajčanin has exhibited internationally in institutions such as the Van Abbemuseum, Künstlerhaus Wien, MAXXI, Stedelijk Museum, Pera Museum, Garage Museum of Contemporary Art and others, and her projects have been included in Kyiv Biennial, Manifesta, the Venice Biennale, the Moscow International Biennale, etc. Her work is held in prominent public and private collections.

Rita Duffy (b. Northern Ireland)
Born in Belfast, Rita Duffy attended the Art and Design Centre and the University of Ulster. Her art is often autobiographical, and reflects on Irish identity, history and politics. Duffy was awarded the Gold Medal, Royal Ulster Academy of Arts in 2006. Her work is held in public collections including the Arts Council of Northern Ireland; Ulster Museum, Belfast; Museum of Contemporary Art, Zagreb; The Drawing Museum, New York; and the Office of Public Works, Dublin.

Encompassing themes and images of Irish identity, history, and politics, Rita Duffy’s work is often both personal and autobiographical. In her work, she often pays homage to the language of magic realism. Duffy received her BA at the Art and Design Centre and her MA in Fine Art at the University of Ulster. She is an Honorary Member of the Royal Society of Ulster Architects (RSUA), and she was awarded the Gold Medal, Royal Ulster Academy of Arts in 2006. Her work can be found in many collections including; Arts Council of Northern Ireland; Ulster Museum, Belfast; Museum of Contemporary Art, Zagreb; The Drawing Museum, New York; and the Office of Public Works, Dublin. A member of Aosdána, Duffy has previously been Artist-in-Residence at Trinity Long Room Hub Arts and Humanities Institute (Trinity College Dublin) and held a Leverhulme Fellowship with the Transitional Justice Institute (Ulster University) to look at the role that visual art has in post-conflict societies.

Annie Fletcher, Director, IMMA
Previously she was Chief Curator at the Van Abbemuseum, Eindhoven and a tutor at de Appel, Amsterdam, the Dutch Art Institute (DAI) and the Design Academy Eindhoven. She was co-founder and co-director of the rolling curatorial platform If I Can’t Dance, I Don’t Want To Be Part Of Your Revolution with Frederique Bergholtz and Tanja Elstgeest (2005-10). In 2012, she was Curator of Ireland’s Contemporary Art biennale EVA International and is regularly called upon to sit on International juries, including the 2019 Preis der Nationalgalerie, Berlin; the 2016 Irish Pavilion at Venice; the 2015 Köler Prize, Estonia; the 2014 Turner Prize, UK; the 2013 Leopold Bloom Art Award, Hungary; and the 2011 BC21 Art Award, Austria.

Mary Cremin, Head of Programming, IMMA
Mary Cremin is an art historian and geographer and is Head of Programming at IMMA. Her practice centres on artists whose work opens new ways of thinking about history, society and the environment, with a particular interest in politically and socially engaged practices and the intersections of ecology, ethics and politics. Over more than two decades, Cremin has worked across museums, galleries, biennials and independent platforms, developing exhibitions, commissions and long-term collaborations with artists and researchers. As Director of Void Gallery, Derry (2017–2023), she commissioned Helen Cammock’s The Long Note, a major film examining the overlooked histories and voices of women involved in the civil rights movement in Derry. The work was subsequently presented internationally and won the Turner Prize in 2019.
She was Commissioner and Curator of the Irish Pavilion at the 2019 Venice Biennale with Eva Rothschild, and has developed international collaborations with organisations including the Afghan Visual Arts & History Collective, Beirut Art Residency and Artists for Women, Life, Freedom.

Johanne Mullan, Curator of Collections, IMMA
Johanne Mullan is Curator of Collections at IMMA, where her work focuses on the research, interpretation, and activation of collections and archives as sites for new knowledge and critical inquiry. Her curatorial practice is driven by an interest in uncovering overlooked histories and alternative narratives within contemporary art. Projects include touring exhibition Patricia Hurl: Irish Gothic (2022-2025), Protest and Conflict: The Narrow Gate of the Here and Now (2021-22), From the Edge to the Centre: IMMA Archive: 1990s (2020), Gaze, IMMA Collection: Freud Project (2018-19), and Willie Doherty: Remains at Art Sonje Center, Seoul (2017). She is currently co curating Technologies of Peace: Art and Transition in Contemporary Europe 1989-2026 (2026-2027) and chaired IMMA’s Self-Determination Programme as part of the Decade of Centenaries. She was lead curator of commissioned works for Self-Determination: A Global Perspective (2023-24) which included commissions by Jasmina Cibic, Array Collective, Iz Oztat, Declan Clarke, Minna Henricksson and Larissa Sansour.