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Daria Kravchuk (dariakravchuk.art) is a curator, cultural producer, and art journalist with over a decade of global experience in the art sector. Her work bridges cultural divides, fostering collaborations between artists, galleries, museums, and brands across diverse geographies, including the United States, Turkey, Russia, Uzbekistan, Italy, Georgia and The Netherlands, where she is currently based. Supported by prestigious grants from institutions such as The Mondriaan Foundation and The Goethe Institute, Daria has curated socially engaging and contextual projects emphasizing locality. In her projects, context takes center stage—be it Astrophysical Observatory, historical interiors of the museum, white cube gallery space, outdoor public space, a ferry or the boundless realm of the metaverse.

In addition to her curatorial practice, Daria is a writer for STIRworld and the .ART Blog, where she highlights emerging trends and talents in art and culture. Since joining .ART in 2018, she has led international projects, contributed to the platform’s evolution, and recently assumed the role of the Head of Art & Strategic Partnerships. In this interview, Daria reflects on her journey, her multidisciplinary approach, and the narratives that shape her practice.

Q: How did your upbringing and family background influence your decision to become a curator, and how have your global experiences shaped your curatorial approach?

Daria: I’ve thought about this a lot, and I believe my decision to become a curator stems from my family background. Both my parents are artists, so I’ve witnessed firsthand the struggles artists face in promoting themselves and navigating institutions. That inspired me to focus not on creating art but on the theory and curation of art—to literally “take care” of artists, which is rooted in the Latin word curare, meaning “to care for” or “to heal” capturing the essence of the curator’s role.

Working globally has shown me the immense value of diverse perspectives. While some curators deeply specialize in one theme or discipline, my path has been multidisciplinary, connecting with experts across various fields. Initially, I saw this as a weakness, but over time I’ve realized it’s a strength. It enriches my projects, allowing them to embrace a broader narrative.  

In addition, in May 2020, I became a part of the “Curatorial Hotline” (curatorialhotline.art) alongside a group of art professionals, including curators, researchers, and artists, to provide support during the first lockdown. This initiative offered a platform for over 500 art workers worldwide to exchange ideas, share research, and stay connected. Operating across cities like Paris, Lisbon, and Johannesburg, the Hotline facilitated dialogues in eight languages. It was an incredible experience that reinforced the importance of collaboration and connection during challenging times. It enabled them to exchange ideas about their practices, share research, and simply converse during a period of profound isolation. As a member of this collective, I had the privilege of consulting artists worldwide, helping them navigate their creative and professional challenges.

Q: What was your first successful curatorial experience where you felt, “This is what I want to do”?

Daria: I’m not sure I’ve ever had a singular “aha” moment because curation is an ongoing process. Every project teaches you something new. That said, one turning point was in 2017, when I co-curated an exhibition called The First Person in Amsterdam, which became a starting point of my research into more-than-human perspectives. Spread across three locations in Amsterdam—a private house in the city centre, an industrial space in the North, and a public space on the ferry connecting Central Station and the North —the exhibition explored diverse perspectives on how individuals and entities experience the world. Through First Person, we aimed to challenge human-centric narratives by presenting the notion that the first-person perspective isn’t limited to humans. We encouraged viewers to consider the unique experiences of mushrooms, stones, pigeons, computer programs, waterscape, particles of dust, and other more-than-human entities. 

Q: How has the rise of technology and digital art influenced your practice?

Daria: The pandemic accelerated the recognition and development of digital and new media art, and I’ve been fortunate to witness this evolution firsthand. For instance, in 2018, when I joined .ART, we saw artists gradually shift towards digital platforms. This momentum grew post-pandemic, with a surge of interest in digital theory and art.

Recently, I curated The Gardens, an exhibition featuring the works by Ronen Tanchum (ronentanchum.art), Ozan Türkkan, and Cao Yuxi, which explores the rich symbolism of gardens. Historically, gardens have embodied productivity, renewal, and human ideals, reflecting our ever-changing relationship with nature. Whether physical or digital, gardens represent the delicate balance between control and chaos, serving as mirrors of their time. Through this exhibition, we questioned, what kinds of gardens are we cultivating today? Are they perhaps digital gardens created by codes and algorithms?

Q: Speaking of narratives, how do you filter through the overwhelming influx of new movements and mediums to find the stories you want to tell?

Daria: For me, it always starts with the narrative rather than the medium. I build stories around questions or themes, which then dictate the mediums involved. Whether it’s video projections, sculptures, or poetry, the narrative is the anchor. My recent work has focused on more-than-human perspectives—shifting the protagonist role from humans to biological and technological more-than-human actors, whether it’s a pigeon in a cityscape or an algorithm shaping virtual spaces. This approach opens up exhibitions to angles beyond the anthropocentric.

Q: You’ve participated in several curatorial residencies. How have these experiences shaped your practice, and would you recommend them to aspiring curators?

Daria: Absolutely. Residencies are transformative. They immerse you in local art scenes and introduce you to diverse ways of thinking. For example, my residencies in Vienna, Cairo, and Tbilisi allowed me to connect with artists and institutions in entirely different contexts.

That said, curatorial residencies often require you to be highly self-driven. Unlike artist residencies, where there’s often more guidance, curators need to build their own programs and networks. It’s challenging but rewarding. My advice to aspiring curators is to be proactive—reach out beyond what’s offered and create your own opportunities.

Q: What qualities or skills do you think are essential for a curator?

Daria: Curating can be a spiky, unpredictable path, so resilience is crucial. Beyond that, communication skills are vital. A curator balances many roles—mediator, organizer, and storyteller—and must navigate between the needs of institutions, artists, and audiences.

Also, I believe in collaboration. I’ve often co-curated projects with people from non-artistic fields, like anthropologists or architects. Their perspectives enrich the process. So while the understanding of the field of contemporary art is crucial, openness to other disciplines can be equally valuable.

Q: Can you share more about the “four pillars” of your curatorial practice?

Daria: Of course. My practice is grounded in four main areas:

1. Building cultural bridges via international exhibitions, supported by departments of Cultural Affairs of embassies and funds, and curating international A-i-R programs, like the one I’ve developed for the Ria Keburia foundation in Georgia. This program aims to provide local artists with opportunities to participate in global A-i-R programs, making them visible on an international scale.
2. Rethinking museum collections in collaboration with contemporary artists and designers.
3. Focusing on digital art and video art. For instance, I’ve worked with artists like Tony Oursler and Jennifer Steinkamp.
4. Exploring the intersection of contemporary art, architecture, and urbanism through multi-layered projects involving roundtables, exhibitions, and research.

Q: One final question: What do you see as the future of curation?

Daria: I believe the future lies in sustainability. Curators must challenge anthropocentric narratives and amplify voices beyond the human—whether biological or technological. It’s about creating spaces for dialogue and coexistence, not just for humans but for all entities that share our world.

For me, this means continuing to work on socially engaged, multidisciplinary projects that connect geographies, cultures, and ideas. The role of the curator is evolving, and it’s an exciting time to be part of this shift.

Featured image of Daria Kravchuk by Jerome de Lint