(l - r) Kimberley Moulton and Marleen Boschen

Kimberley Moulton and Marleen Boschen have been appointed curators of indigenous art and climate at Tate

Photo: Eugene Hyland and Dominique Russell

Changing Faces

Tate hires specialist curators

Arts Professional
2 min read

Tate has appointed two curators to newly created posts dedicated to ecology and indigenous art.

MARLEEN BOSCHEN has been named the institution’s first Adjunct Curator dedicated to art and ecology, while KIMBERLEY MOULTEN takes up the part-time role of Adjunct Curator specialising in First Nations and Indigenous Art.

Commencing this month, both curatorial posts will sit within the Hyundai Tate Research Centre: Transnational. The Centre contributes to exhibitions, displays, acquisitions and events across Tate’s four galleries and aims to offer new perspectives on prevailing art histories.

Boschen’s work as an artist, curator, lecturer and researcher has an environmental focus. 

In 2019, she co-curated a research, performance and exhibition project called Soil is an Inscribed Body: On Sovereignty and Agropoetics at SAVVY Contemporary, Berlin. The exhibition explored “land relations, anti-colonial struggles and multispecies collaborations through artistic practice”. 

Since January 2023, she has been developing Testing Grounds, an artistic programme on cultivation, migration and agroecological learning for the garden of Villa Romana in Florence.

Meanwhile, Moulton, a Yorta Yorta woman from Australia, has worked with Museums Victoria for 15 years, where she recently stepped down as Senior Curator, First Peoples.

Moulton was also Senior Curator and Artistic Associate for RISING Festival Melbourne, where she recently organised Shadow Spirit, a major exhibition of national indigenous art in Australia. 

In a post on Instagram about her new position at Tate, Moulton said: “I hope to make [an] impact for First Peoples art at the Tate Modern, re-thinking the collections and research through a non-western lens.”

Tate Modern said in a statement that the “significant experience and expertise” of both curators would “play an important part in expanding both our knowledge of First Nations and indigenous art and the intersection between art and ecology”.