Gladys Lou is a curator and writer based in Toronto and New York. She holds an M.A. in Curatorial Studies at the Center for Curatorial Studies, Bard College (CCS Bard), and a B.A. in Art & Art History and Psychology from the University of Toronto. She is passionate about film and media arts and was awarded a Fulbright scholarship in 2022, where she studied Digital Arts and Experimental Media at the University of Washington. 
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Lou held curatorial and research positions at the Whitney Museum of American Art, the National Gallery of Art (Washington, D.C.), Vtape, and the Blackwood Gallery. She has guest-programmed screening programs at Anthology Film Archives, Film-makers' Cooperative, Calgary Cinematheque, and Pleasure Dome. Her critical writing and journalism have appeared in Hyperallergic, ArtReview, ArtAsiaPacific, C Magazine, MUBI Notebook, Public Parking, and Studio Magazine.  

Lou's independent curatorial projects include "Curator Diary": The Curatorial Work of Shigeko Kubota (2026) at the Hessel Museum of Art, Depixelating History (2026) at The New Gallery, Esa otra mitad del cielo: Feminist Strategies in Post-1968 Mexican Art (2025) in collaboration with ISLAA, To see the world in a grain of sand (2025) at Factory Media Centre, Thing Valley (2024) at CCS Bard, and All watched over by machines of loving grace (2023) at InterAccess. 

​Her media art has been shown internationally at festivals and museums, including the International Film Festival Rotterdam, Festival du Nouveau Cinéma, the Art Museum at the University of Toronto, and the Museum of Contemporary Art of Alicante. Her work received first prize at Video Fever 2023, presented by Trinity Square Video, Vtape, and Images Festival.