Collective Rewilding was founded in 2019 by Ameli M. Klein, Sara Garzón, and Sabina Oroshi.
SARA GARZÓN
Sara Garzón is a Colombian curator and writer based in New York City. She specializes in modern and contemporary art focusing specifically on issues relating to decoloniality, Indigenous new media art, and Global South solidarity politics. Sara earned her M.A. in Art History and Archaeology from The Institute of Fine Arts, NYU (2015), and her Ph.D in the History of Art and Visual Studies at Cornell University (2022).
Sara has been the recipient of numerous grants and fellowships including the Andrew Harris Postdoctoral Fellowship at the University of Vermont (2021-2022), the Jane and Morgan Whitney Curatorial Fellowship (2020-2021), and the Lifchez-Stronach Curatorial Fellowship (2015) both at the Metropolitan Museum of Art. Beside institutional appointments, Sara has curated exhibitions in the US, Europe, and Latin America, and is currently the curator of the research project “South to South: A Meeting on African and Afro-Diasporic Technologies” (2023-2024), which is organized in collaboration with Pivô in São Paulo, Centre d'art Waza in Congo.
Sara has contributed to several exhibition catalogs, anthologies, peer-reviewed journals and art magazines including DASartes Magazine, Ocula Magazine, Terremoto, Hyperallergic, and others. Her most recent editorial project Worldmaking Practices: A Take on the Future was published thanks to the support of the Colección Patricia Phelps de Cisneros, and her article “Manuel Amaru Cholango: Decolonizing Technology and the Construction of Indigenous Futures,” was awarded Best Essay in Visual Culture Studies 2020 by the Latin American Studies Association (LASA). Since then, she was contributed articles and exhibitions review to e-flux, Hyperallergic, Ocula Magazine, and others including anthologies and exhibition catalogs such as Latin American Ecologies forthcoming with K-Verlag, Theory in the New Humanities series from Bloomsbury, 2024, and Ximena Garrido-Lecca Botanical Readings: Erythroxylum Coca published by Temblores Publicaciones in Mexico City. Sara is currently working on her book project titled: 1992: 500-Years of Anti-Colonial Resistance.
SABINA OROSHI
Sabina Oroshi is a curator and researcher whose work engages with questions of ecology, temporality, sonic thinking, interspecies dialogue, and posthumanist ethics in contemporary art. Her curatorial methodology is rooted in showcasing an interdisciplinary engagement, drawing on a pluralistic approach that encompasses research, meetings, sound, and performance art. With a strong emphasis on durational, embodied, and site-responsive formats that challenge anthropocentric and neoliberal frameworks.
She has curated exhibitions and programs at Kunsthalle Trier, Museum-Museo Lapidarium, Drugo More, and the Museum of Contemporary Art of Istria, among others. Since 2019, she has been a founding member of Collective Rewilding. The collective explores alternative curatorial ecologies that decenter human agency, resist chrononormativity, and propose new forms of planetary kinship.
Oroshi is also the initiator of Nourishment Ties, a curatorial framework exploring food, ritual, and ecologies of care across geographic and political boundaries. Through exhibitions, performances, and research, the project investigates how artistic and ecological entanglements shape forms of resilience and co-dependence.
She holds an M.A. in Art History and Museology from the University of Zagreb and a B.A. in Art History and Philosophy from the University of Rijeka. Oroshi has been a guest lecturer at the Dutch Art Institute, Zeppelin University, and the School of Visual Arts, and has participated in curatorial residencies and fellowships with NODE Berlin, Stacion, Culture Hub Croatia and Kunsthalle am Hamburger Platz.
MAYA HAYDA
Maya Hayda (b. 1998) is a curator, writer, and art historian based in New York. She has worked with Artists Space, Canal Projects, and PS122 Gallery and has written for The Wattis Institute’s online library, FLAT Journal, Public Parking, and The Drawing Center. Her research interests are rooted in questions of materiality, analogy, poetics, and the confluences of natural and built environments across Eastern Europe and the Global South. Her practice examines and activates art as an interdisciplinary framework that exposes, engages, and catalyzes relations between organisms, matter, media, and broader ecologies. Her ongoing projects are interested in geopoetics, extraction, and extractivism, seeking to engage with artistic practices that recalibrate and undermine these cycles with alternative possibilities of worlding, being, and relating. She holds a degree in Art History and English from Wesleyan University (2021). https://mayahayda.cargo.site/