In order to establish a rigorous strategic curatorial platform we need help from our peers in cultural leadership and curation. To that end, Metro Arts has implemented a Curatorium – a network of respected peers from different contemporary art realms; high profile inter/national artists and academics.

The Curatorium advises Metro Arts’ curators and producers in the formulation of strategic projects; assuring quality, maximizing our advocacy, cultural leadership, sector impact and audience development. This assembly of artists and arts leaders strengthen the organisation’s curatorial muscle in the delivery of the curated platforms in our artistic program.



Alyson has worked as a freelance director and as a theatre educator in Australia, the UK and the US since 1990. She has a particular interest in working on new writing, most notably through her longtime artistic collaboration with Sydney playwright Lachlan Philpott and their independent ensemble wreckedAllproductions (2000-present). Their work has a focus on queer performance, and Alyson directed Philpott’s play Bison in Belfast for the Outburst Queer Arts Festival (2009) and the Oval House Theatre, London (2010). She directed the world premiere of Philpott’s The Trouble with Harry at the Mac in Belfast for Outburst Queer Arts Festival (2013) and the Australian premiere, produced by MKA: theatre of new writing, for Melbourne International Festival in 2014. Alyson’s research and practice as a director focuses on two main areas: a contemporary phenomenological/affective approach to the experiential nature of performance, and gender/queer theories and dramaturgy. Alyson completed a Practice as Research (PaR) PhD at the University of Melbourne in 2009. Her thesis, Experiencing Kane: an `affective approach’ to Sarah Kane’s experiential theatre in performance, included direction of Kane’s 4.48 Psychosis at Red Stitch Actors Theatre, Melbourne in 2007. She is currently Head of Graduate Studies in Theatre at the Victorian College of the Arts, where she leads the courses on directing and dramaturgy.



Glenn D’Cruz teaches drama and cultural studies at Deakin University, Australia. He has published widely in the areas of theatre and performance studies. His academic work has appeared in prestigious national and international journals, including Meanjin, New Theatre Quarterly, Modern Drama, Life Writing, The Journal of Intercultural Studies and The Journal of Commonwealth Literature. He is reviews editor for Australasian Drama Studies, and the former chair of the MWT Committee of Management. His book Midnight’s Orphans: Anglo-Indians in Post/Colonial Literature was published in 2006. He is the higher degree coordinator and a member of the Persona, Celebrity, Publics emerging research group in the School of Communication and Creative Arts at Deakin University.



Lawrence English is a composer, media artist and curator based in Australia. Working across an eclectic array of aesthetic investigations, English’s work prompts questions of field, perception and memory. He investigates the politics of perception via live performance and installation to create works that ponder subtle transformations of space and ask audiences to become aware of that which exists at the edge of perception. Lawrence is also founder of Room40 label and is a PhD Candidate in Music as well as lecturer at the Queensland University of Technology.



Lois Keidan is a British-born cultural activist and writer, and the co-founder and Director of the UK’s Live Art Development Agency. She is the former Director of Live Arts at the Institute of Contemporary Arts, London from 1992 to 1997 where she devised a year round program of new performance and initiated numerous new ventures for established and emerging artists. Prior to the ICA, she was responsible for national policy and provision for Performance Art and interdisciplinary practices at the Arts Council of Great Britain. Keidan is a major proponent and advocate for Live art in the UK and has been instrumental in the development and support of artists who have tended to be “marginalised, misunderstood and misrepresented…”. She has regularly written articles and edited books on performance and live art, contributes articles on performance to a range of journals and publications, and gives talks and presentations on performance at festivals, colleges, venues and conferences in Britain and internationally. She sits on a number of Boards and Advisory Panels, including Artsadmin (London) and Performa (New York). In 1999, she was awarded an Honorary Fellowship by Dartington College of Arts, and in 2009, she was awarded an Honorary Fellowship by Queen Mary, University of London.



Alan Lawrence studied composition and guitar at the Royal College of Music, working as a composer and performer before establishing his own recording studio in London He wrote and produced music for television productions, short films and award-winning animations, as well as producing music for major exhibition spaces in Britain and Europe, before resolving to devote his energies entirely to the writing of music for concert performance in 1997. Since then he has composed a variety of orchestral and chamber works performed in Australia and in England – among these: Chromatograph (Queensland Orchestra – Brisbane, 2003); Encryption II for oboe and percussion ensemble (Duncan Tolmie and Isorhythmos – Brisbane, 2003); Composition with Eames Chair for solo clarinet (Andrew Harper – Dukes Hall, London, 2006); and Offshore (So-la Voce Chamber Choir – Brisbane, 2009). He has written for a number of Queensland theatrical productions, recently renewing his long term artistic relationship with the Queensland Theatre Company. As well as composing new pieces for the AMEB percussion syllabus, Alan has completed the first two pieces of his Kattrin Trilogy, a series of works for solo performer and quadraphonics, the first of which was debuted by performer David Montgomery, at the Queensland Theatre Company – Bille Brown Studio in November 2014. Lawrence was a 2002 Composer Affiliate of The Queensland Orchestra and has a PhD in composition from the University of Queensland.



Jeremy Neideck is a director, performance artist, dancer, and composer with a strong focus on transcultural practices and exploring the convergence of extreme physicality with extended vocal techniques. Jeremy has trained in physical theatre and butoh with Yumiko Yoshioka, Zen Zen Zo, Dairakudakan and Sankai Juku, Yumi Umiumare, Tess de Quincey, and Barney O’Hanlan (SITI Company). He founded dance theatre company Red Moon Rising with Ellen Rijs and Polly Sara and in 2011, Jeremy directed Deluge for Red Moon Rising as part of Metro Arts 2011 FreeRange. This work has gone on to premiere as part of Brisbane Festival 2014 at Brisbane Powerhouse and tour to multiple spaces and festivals in Korea through 2014/5. Jeremy is also a prolific sound designer and composer for theatre having worked with companies such as Imaginary Theatre, Zen Zen Zo, and 23rd Productions. His work on Fleur Elise Noble’s Two Dimensional Life of Her was described as “superb” by the New York Times.



As creative director of Big hART and as playwright and director, Scott Rankin has created or collaborated on many large-scale Australian hybrid performance, media and art projects: Hipbone Sticking Out in the Pilbara; Blue Angel for the International Shipping Industry; Namatjira for the Namatjira family; Ngapartji Ngapartji for Trevor Jamieson, Box the Pony for Leah Purcell; Riverland for Wesley Enoch; StickybrickS for the Northcott Public Housing community in Surrey Hills, Sydney; Junk Theory for the Sutherland Shire, as well as internationally touring works such as Certified Male. Rankin’s work has made a significant long-term contribution to contemporary Australian theatre. His practice is used as an exemplar at tertiary level, as well as being the subject of internatinoal collaborative research. He is a frequent public speak and advisory to Government in Community Cultural Development. Big hART is his passionate contribution to Arts and Society, as a response to the needs and gifts of extremely disadvantaged communities.



Leisa Shelton is a performance artist /maker and curator with a practice that foregrounds collaboration and an advocacy for new Australian transdisciplinary work. Leisa’s current practice is focused on Curatorship and Development of new frames for the presentation and development of Performance. She is currently a co-curator for the Venice International Performance Art Week, a commissioned artist with the 2015/16 touring exhibition for EXPERIMENTA, and has initiated the 2015 eXchange program between Taipei and Melbourne with partners Dance Massive/Arts House and the Taipei Arts Festival. She is also an associate artist with the Centre for Cultural Partnerships / Faculty of the VCA – Melbourne University and runs independent training in Responsive Performance Practice, with a growing community of committed practitioners in Melbourne with workshops each year around Australia.



Grant Stevens is an internationally respected visual artist. He has held numerous solo shows in Australia, as well as in Italy, New Zealand and the United States. His work has been exhibited in many group shows including at the Art Gallery of New South Wales, the Queensland Art Gallery, the National Gallery of Victoria, the Museum of Contemporary Art (Sydney) as well as internationally. Grant received his PhD from the Queensland University of Technology, Brisbane, in 2007, and has held a variety of academic appointments, most notably as a Lecturer in Visual Arts at QUT. He is represented by Gallery Barry Keldoulis, Sydney, and Starkwhite, Auckland.



Zane Trow is a manager of arts centres, festivals and arts programs, and a composer/performer and live artist; a post-disciplinary arts worker with over 30 years experience in bridging contemporary sound art, community art and live art practice. His sound art and music is released internationally, and recent solo live art works have been presented in Australia, USA, Indonesia & Singapore. For the last 10 years, Zane served as Chair of Media Arts Asia Pacific(MAAP), a Brisbane based not-for-profit organisation that develops critical exhibition and research initiatives to engage the region’s major practitioners and producers. He is the former Professional Development Coordinator for Access Arts Inc., Associate Professor of QUT Performance Studies, Artistic Director of the South Bank Corporation, Chairman of Youth Arts Queensland, Artistic Advisor at Metro Arts Centre & CEO/Artistic Director of the Brisbane Powerhouse Centre for the Live Arts, as well as CEO/Artistic Director of Performance Space in Sydney and CEO/Artistic Director of Next Wave in Melbourne.