about

Edith Doove is a curator, writer and researcher, specifically interested in notions of emergence and contingency, and in cross- and transdisciplinary collaborations. Central to her practice are the interconnections between art and care.

She started curating in 1987 in Antwerp while studying art history at Leiden University. Working as a freelance curator and art critic in Belgium until 2010, she was director-curator of MDD-Museum Dhondt-Dhaenens (1999-2004) and curator of such large-scale projects as A Riddle for Zoersel (2000), Super! Triennial for Visual Art, Fashion and Design – Hasselt (2005) and Parallellepipeda – between art & science – Museum M, Leuven (2010).

In 2010, she moved to Plymouth, UK, to join Transtechnology Research at Plymouth University, where she attained her PhD in November 2017. Following Brexit, she moved to France in 2018, where she currently lives and works in Rouen.

In 2023, she was the curator of visual arts for the Arts Festival Watou, and in 2024, she curated The Research Group – an artists’ collective 1967-1972, with accompanying publication at De Stadsmus, Hasselt.

In 2025, she curated the launch of the project Covers for the World in collaboration with artist Pierre Mertens in Moshi, Tanzania. This project in support of Child-International, which supports children with spina bifida and hydrocephalus, made her rethink her practice. At the start of 2026, she will transform her creative consultancy Bureau Doove, which she started in 2015, into *hadithi – storytelling with care.

See this link for a full overview of her projects.

Edith Doove is a principal investigator at Vagab(o/u)nds Research, and a member of AICA, C-E-A and RN13BIS.

Call for Curators recently published this Members Spotlight on her.

everything else started as an ongoing project of drawings, photos and writing. Where the title initially just indicated something undefinable, alongside her main activity as a curator and researcher, it gained a bigger importance over time.

Whereas her photos can be called accidental snapshots, in which she explores the tension between reality and fiction, her drawing practice is more research-related and re-initiated through her activities within the research group The Faculty of Minor Disturbances (UK/F/P).

Carrousel, 2022

Portrait photo by Jean-Louis Vincendeau, 2022