A Trustee of the not-for-profit Shiv Nadar Foundation, Kiran started her career as an advertising, communications & brand professional. She is an international competitive bridge player and an avid art collector. The latest mantle Kiran has donned is that of the Chairperson of the Kiran Nadar Museum of Art (KNMA).

Almost immediately acknowledged as a 'hero of philanthropy' by Forbes Asia Magazine in 2010 for launching India's first philanthropic private museum of Art, Kiran today looks at her roles at KNMA and the Shiv Nadar Foundation as most vital of all her interests. The Foundation is committed to the creation of a more equitable, meritocracy based society by empowering individuals to bridge the socio-economic divide; and to that purpose is focused on the rather underdeveloped disciplinary areas in India related to philanthropic transformational education, creativity and art. Drawing from her diverse and rich experience in advertising and communications, Kiran has played a very important role in defining the architecture and the distinct academic ambience of the Foundation's transformational education initiatives and is leading from the front to bring to life the vision of the KNMA.

Kiran is also a Member of the Rasaja Foundation, an educational, scientific and cultural institution created in 1984 by the late Jaya Appasamy, renowned artist, art historian and art critic. The aim of the Rasaja Foundation is to bring to the notice of the art fraternity and the lay people its rare and valuable collection of artefacts currently housed at the National Gallery of Modern Art.

She is also involved with the Public Health Foundation of India (PHFI) where her husband Shiv Nadar is a founding board member; and an initiative of the Rajiv Gandhi Foundation which sponsors the education of Muslim and Dalit girl children in key backward districts of Uttar Pradesh.

An advertising professional by background, Kiran started her career in the Ad agency MCM. Then came her stint at NIIT – a company that grew out of Shiv Nadar's vision for computer education in India. Kiran is responsible for helping shape the NIIT brand with Rajendra Pawar, from its inception, in its advertising and communication strategy and overall brand building. She stayed with NIIT for its first two and a half years.

Her focus is now primarily on enhancing the museum-going culture in India through educational and public programs at the KNMA, reaching out to diverse groups of audiences. While working towards nurturing and growing the Collection, she is geared to shape KNMA into a people-centered and action-oriented place.

Kiran Nadar lives in Delhi, India with her husband Shiv Nadar, Founder, HCL and Chairman, Shiv Nadar Foundation.

He is one of India’s leading artists, and has worked extensively within and outside the art space to promote freedom of expression, to battle communalism and to extend democratic rights.

Vivan Sundaram was educated at The Doon School, the Faculty of Fine Arts, M.S. University, Baroda, and at Slade School of London. In London he met the legendary British-American painter R. B. Kitaj, under whom he was trained for some time. Sundaram works in many different media, including painting, sculpture, printmaking, photography, installation and video art, and his work is politically conscious and highly intertextual in nature.

His works in the 1980s showed a tendency towards figurative representations, and dealt with problems of identity.

His works constantly refer to social problems, popular culture, problems of perception, memory and history. His latest installations and videos often refer to his artistic influences, among them are Dadaism, Surrealism, as well as more recent Fluxus and the works of Joseph Beuys.

Pooja Sood is the Director of KHOJ International Artists’ Association, an autonomous; artists’ led registered society aimed at promoting intercultural understanding through experimentation and exchange. It is possibly the only such public organization for experimental contemporary art in India. In New Delhi, she has developed a radical space for alternative art practice at the KHOJ studios, which runs workshops, international residency programmes and diverse projects.

She was the Curator of the Apeejay Media Gallery, the first and only dedicated new media gallery in India from 2002-2008. From 1994 to 1998, she was the Director of the Eicher Gallery in New Delhi, during which she curated over 20 exhibitions. As an independent curator, she was appointed Artistic Director and curator of 48C Public.Art.Ecology, the first public art project in India commissioned by the Goethe Insitute, and GTZ New Delhi in December 2008. It included commissioning 25 art projects by renowned Indian and International artists. She curated KHOJ LIVE 08, a live arts Festival in March 2008.

She has co curated the exhibition “Have we met?” with curators from Indonesia, Japan and Thailand for the Japan Foundation in 2004. She has curated several touring exhibitions in India and abroad .The Exhibition “From Goddess to Pinup: icons of femininity in Indian Calendar Art” which she co-curated with anthropologist Dr Patricia Uberoi has toured Fukuoka , Amsterdam, Vienna, Vancouver and New York.

Sood is the editor of the The KHOJ BOOK : 1997-2007 contemporary art practice in India, published by Harper Collins, 2010. She has written on art for the Art India magazine and is the editor of several catalogues including the first publication of Indian video art, “Video Art in India”, 2003. She is currently working on a book on the 48C Public.Art.Ecology project.

Sood has am MA in Art History (1990-92) From Punjab University, Chandigarh; an MBA in Marketing (1984-86) from the Symbiosis Institute Of Business Management, Pune. She is married and lives and works in New Delhi, India.

She has been Director of the migros museum für gegenwartskunst Zürich since 2001. She co-founded the Halle für Kunst Lüneburg e.V. in Germany, which she co-directed between 1995 and 2001. She was lecturing at different art schools like the Jan van Eyck Academy in Maastricht, Goldsmith in London or the ZhdK Art School in Zurich. She was involved into numerous national awards like this year’s prestigious Turner Price in Great Britain or in Austria or Luxembourg.

Her theoretical main topics in the last years have been discussing the collective unconsciousness and the social memory, theories of uncanny spaces, pychedelics and more lately on performative strategies. Previously curated exhibitions include Tatiana Trouvé (2009), Karla Black (2009), Tadeusz Kantor (2008), Rachel Harrison (2007), Marc Camille Chaimowicz (2006), Robert Kusmirowski (2005), Yoko Ono (2004), Mark Leckey (2003) or Art & Language (2003).

Martin Clark has been Artistic Director at Tate St Ives since 2007, leading the development and delivery of the exhibitions and displays programme, as well as the wider public programme including Interpretation and Learning. Previously he was Curator of Exhibitions at Arnolfini, Bristol (2005-7), and Curator and Exhibitions Tutor at Kent Institute of Art and Design (now University College of the Creative Arts) (2002-5).

Clark graduated with a BA (Hons) in Fine Art from Sheffield Hallam University, before going on to complete the MA Curating and Commissioning Contemporary Art at the Royal College of Art, London. Over the past 10 years he has curated and organised over 50 exhibitions and projects, including solo shows by Simon Starling, Dexter Dalwood, Lily van der Stokker, Albert Oehlen, Carol Bove, Mark Titchner, Heimo Zobernig, Hans-Peter Feldmann, Adam Chodzko, Deimantas Narkevicius and Lucy McKenzie, as well as a number of group exhibitions including: ‘Candyland Zoo’, ‘The Hollows of Glamour’, ’This storm is what we call progress’, ‘Pale Carnage’ and most recently ‘The Dark Monarch: Magic and Modernity in British Art.

He has taught at institutions including Goldsmiths College, London, The London College of Fashion, Nottingham Trent University, and University of the West of England, Kent Institute of Art and Design, and University of East London. He was a Mentor on the ETA Artists Professional Development Scheme, Brighton.

He has also contributed to many public seminars, lectures and talks on contemporary art at institutions including Tate Modern, The Serpentine Gallery, The Whitechapel Gallery, Arnolfini and The Moscow Biennale. He has edited numerous publications and catalogues, as well as writing widely on contemporary art and artists for publications including Frieze, Mousse Magazine, Art Review and Untitled.