ÉRIC ALLIEZ, philosopher, is a Professor at University of Paris 8 and at the Centre for Research in Modern European Philosophy, Kingston University (London). He has been visiting professor in many universities worldwide, including in Rio de Janeiro, Vienna, Warwick, Karlsruhe, Weimar, Oslo, and beyond. His publications in English include Wars and Capital (with M. Lazzarato, Semiotext(e), 2018), Undoing the Image: Of Contemporary Art (with J.-Cl. Bonne, 5 vol., Urbanomic, 2018), The Brain-Eye. New Histories of Modern Painting (with J.-Cl. Martin, Rowman and Littlefield International, 2017), Transdisciplinary Problematics (ed., Theory, Culture and Society, Special Issue, 2015), Spheres of Action: Art and Politics, (ed., with P. Osborne, Tate Publishing, 2013), The Guattari Effect (ed., London and New York: Continuum, 2011), The Signature of the World (Continuum, 2004), Capital Times (University of Minnesota Press, 1997, preface by G. Deleuze).
IVANA BAGO is an independent scholar and writer based in Zagreb. She recently earned her PhD at Duke University, with a dissertation titled “Inheriting the Yugoslav Century: Art, History, and Generation.” She is the co-founder (with Antonia Majaca) of Delve | Institute for Duration, Location and Variables (www.delve.hr), dedicated to the intersections of academic, artistic, and curatorial practice. She has published extensively – in academic journals, exhibition catalogues, artist monographs, and art magazines such as Artforum –
on contemporary art, including conceptual art, history of exhibitions and curating, performance, feminism, (post)Yugoslav art, and post-1989 art historiographies, and is a member of the editorial board of ARTMargins. Her curatorial projects include: Moving Forwards, Counting Backwards, MUAC, Mexico City, 2012; Where Everything is Yet to Happen, Spaport Biennale, Banja Luka, 2009/10; The Orange Dog and Other Tales, Zagreb, 2009; Stalking with Stories, Apexart, New York, 2007.
BRENNA BHANDAR is Reader in Law and Critical Theory at SOAS, University of London. She is author of Colonial Lives of Property: Law, Land and Racial Regimes of Ownership (DUP, 2018) and co-editor (with Jon Goldberg-Hiller) of Plastic Materialities: Politics, Legality and Metamorphosis in the Work of Catherine Malabou (DUP, 2015). She is currently completing a book (with Rafeef Ziadah) titled Revolutionary Feminisms: Conversations on Collective Action and Radical Thought (Verso, 2020).
SEÇIL BINBOĞA is a PhD candidate in the Architectural History and Theory Program at the University of Michigan. She is interested in relations between nature, space, and technology with a particular focus on the rural, environmental, and urban histories of the modern Middle East. Her dissertation research explores the scalar politics of spatial development and infrastructural modernization in Cold War Turkey.
VIRGINIA BLACK is an architect and visual ethnographer
whose research is sited at the intersection of bodies, the environment, and memory. Her current work is situated between New York and Ecuador, where she collaborates with AMUPAKIN,
an indigenous women’s midwifery. She received FLAS Fellowships in 2013, 2014, and 2015 to study Quechua and Kichwa. She has taught at Pratt, Parsons, Barnard, Columbia, and NYCCT. Virginia has worked for Arthur Ross Architecture Gallery and for a number of architecture design firms, including Maison Édouard François (Paris) and VolumeOne and AKOAKI (Detroit). She holds an M.S. in Critical, Curatorial and Conceptual Practices in Architecture from Columbia University, an M.Arch from the University of Michigan, and a B.Arts in architecture and modern languages from Clemson University. Black is the co-founder of the award-winning feminist architecture collaborative, a three woman enterprise exploring issues surrounding the spatial politics and technologized relations of bodies and subjects. Their projects traverse theoretical and activist registers to locate new forms of architectural work through critical relationships with collaborators across the globe.
ERAY ÇAYLI, PhD (University College London, 2015), studies the material and spatial legacies of political violence in Turkey anthropologically. His current research is on how these legacies shape and are shaped by contemporary imaginaries of disaster and resilience. Eray is Leverhulme Trust Early Career Fellow (2018-21) at the London School of Economics and Political Science where he also teaches the postgraduate course ‘Imaging Violence, Imagining Europe’. He is currently completing a monograph titled The Violence of Commemoration: Turkey’s Architecture of ‘Confronting the Past’, guest-editing a special journal issue themed ‘Field as Archive / Archive as Field’, and co-editing the volume Architectures of Emergency in Turkey: Heritage, Displacement, Catastrophe. Eray is a co-founder of Amed Urban Workshop, an independent academy for critical spatial research based in the city of Amed (officially known as Diyarbakır) in Turkey’s Kurdistan, where he also undertook a residency at the artist-run space Loading in summer 2019.
DOPLGENGER is an artist duo Isidora Ilić and Boško Prostran from Belgrade. Doplgenger engages as a film/video artist, researcher, writer and curator. The work of Doplgenger deals with relation between art and politics through exploring the regimes of moving images and modes of its reception. They rely on the tradition of experimental film and video and through some of the actions of these traditions intervene
on the existing media products or produce in the expanded cinema forms. Their work has been shown internationally at institutions such are the Museum Wiesbaden, Kunstmuseum Bonn, Centre Pompidou in Paris, Stedelijk Museum Bureau Amsterdam, Osage Gallery in Hong Kong, Museum of Contemporary Art in Zagreb etc. Films of Doplgenger have been screened and selected for the film festivals like International Film Festival Rotterdam, Seattle International Film Festival, Kassel Documentary Film and Video Festival, Cairo Video Festival, Festival des cinémas différents et expérimentaux de Paris, Festival Images Contre Nature in Marseille, among others. Doplgenger is the recipient of Serbian Politika Award for Best Exhibition in 2015.
BASSAM EL BARONI is assistant professor in curating and mediating art at the School of Arts, Design and Architecture, Aalto University, Helsinki, Finland and former lecturer at the Dutch Art Institute, ArtEZ University of the Arts in Arnhem. His research engages with questions relating to transdisciplinarity as a contemporary condition, science and its (de)politicisation, pluralism and democracy. His current project centres on the desert as a philosophical apparatus for unpicking and articulating ways of seeing, working and worldmaking. He was founding director of the Alexandria Contemporary Arts Forum (ACAF) a now closed non-profit art centre in Alexandria, Egypt from 2005 – 2012 and co-curator of the 8th edition of Manifesta – the European Biennial of Contemporary Art – in Murcia, Spain, 2010. He co-curated the Lofoten International Art Festival, Norway, 2013 and curated the 36th edition of Eva International – Ireland’s Biennial, Limerick, 2014. Other notable projects include curating ‘What Hope Looks like after Hope (On Constructive Alienation)’ at HOME WORKS 7, Beirut, 2015 and ‘Nemocentric’ at Charim Galerie, Vienna, 2016.
ALESSANDRA FERRINI is a visual artist, educator and researcher based in London, UK. Her work has featured in international exhibitions, screenings and conferences, including: Sharjah Film Platform (2019); the 2nd Lagos Biennale (2019); Villa Romana (2019); Depo Gallery (Istanbul Biennal collateral, 2019); Manifesta 12 Film Programme (2018); the 6th Taiwan International Video Art Exhibition (2018-19); Fondazione Sandretto Re Rebaudengo (2018); Passerelle Centre d’Art Contemporain (2018); the 16th Rome Quadriennale (2016-17); Centre for Contemporary Arts Glasgow (2017). She was the recipient of the London Film Festival’s Experimenta Pitch Award 2017 (FLAMIN & BFI) and the MEAD residency at the British School at Rome 2018. She is an AHRC-funded PhD candidate at the University of the Arts London, and is affiliated with InteRGRace, Interdisciplinary Group on Race and Racisms (University of Padua).
ALFREDO GONZÁLEZ-RUIBAL is a researcher with the Institute of Heritage Sciences of the Spanish National Research Council. Although trained as a prehistorian, his work has focused for the last two decades on the archaeology of the contemporary past. He is particularly interested in the dark side of modernity – conflict, dictatorship, colonialism and capitalism. His other main line of research is the study of social resistance through material culture. He has conducted fieldwork on these topics in Spain, Equatorial Guinea, Ethiopia and Somaliland. His most recent book is An Archaeology of the Contemporary Era (Routledge, 2019) and he is now finishing another, entitled The Archaeology of the Spanish Civil War (also with Routledge).
ANDREW HERSCHER is a co-founding member of a series of militant research collaboratives including the We the People of Detroit Community Research Collective, Detroit Resists, and the Settler Colonial City Project. In his scholarly work, he explores the architecture of political violence, migration and displacement, and resistance and self-determination across a range of global sites. Among his books are Violence Taking Place: The Architecture of the Kosovo Conflict (Stanford University Press, 2010), The Unreal Estate Guide to Detroit (University of Michigan Press, 2012), and Displacements: Architecture and Refugee (Sternberg Press, 2017). He also teaches architecture at the University of Michigan.
ANOUSHEH KEHAR is a researcher at the Institute of Contemporary Art, TU Graz, where she is currently working on the project “Curatorial Design: a place between.” She is interested the interdisciplinary nature of architectural design and theory, in practice and academia, via decolonial thinking of political, economic, social and legal structures. She received her Master of Architecture and Bachelor of Art and Architectural History from the University of Houston.
ANA PERAICA is the author of “The Age of Total Images” (Institute of Network Cultures, Amsterdam, in print) “Fotografija kao dokaz” (Multimedijalni institut, Zagreb, 2018), Culture of the Selfie (Institute of Network Cultures, 2017), and editor of Smuggling anthologies (MMSU, Rijeka, 2015), Victims Symptom (Institute of Network Cultures, 2009), and other books. She teaches at Danube University Krems and at Central European University (CEU) in Budapest.
KARIN REISINGER, architect, PhD (Visual Culture, Vienna UT) on the contested memories of nature preservation areas. Karin teaches Art in Changing Environments at Vienna UT and was research fellow at ArkDes Stockholm, following a postdoctoral fellowship in Critical Studies in Architecture at KTH Stockholm (2016-2017). Both allowed her to engage with the mining areas of Northern Sweden. Book chapters include “Insomnia: Viewing Ecologies of Spatial Becoming-With” in After Effects (2019, Actar); “Abandoned Architectures: Some Dirty Narratives” in Architecture and Feminisms (2018, Routledge); and “Connective Oscillations: Architectures Between the Devil and the Deep Blue Sea” in More (forthc. 2019, Didapress). Karin co-organised the 2016 AHRA conference Architecture and Feminisms: Ecologies, Economies, Technologies and edited, together with Meike Schalk in 2017, the volumes Architecture and Culture issue 5(3) called “Styles of Queer Feminist Practices and Objects in Architecture,” and the field issue 7(1) called “Becoming a Feminist Architect.”
WALID SADEK is an artist and writer living in Beirut. His early work investigates the familial legacies of the Lebanese civil war. His later work proposes a theory for a post-war society disinclined to resume normative living. More recently, his artworks and written texts seek a poetics for a sociality governed by the logic of protracted war and search for eruptive temporalities to challenge that same protractedness.
He is Professor and current chair of the department of Fine Arts and Art History at the American University of Beirut.
SHELA SHEIKH is Lecturer in the Department of Media, Communications and Cultural Studies, where she convenes the MA Postcolonial Culture and Global Policy. Prior to this she was Research Fellow and Publications Coordinator on the ERC-funded Forensic Architecture project (also Goldsmiths). She lectures and publishes internationally. A recent multi- platform research project around colonialism, botany and the politics of planting includes ‘The Wretched Earth: Botanical Conflicts and Artistic Interventions’, a special issue of Third Text co-edited with Ros Gray (vol. 32, issue 2–3, 2018), and Theatrum Botanicum (Sternberg Press, 2018), co- edited with Uriel Orlow, as well as numerous workshops on the topic with artists, filmmakers and environmentalists. Her current research interrogates various forms of witnessing, between the human, technological and environmental. As part of this she is working on a monograph about more-than-human witnessing collectivities in the context of nature, race and environmental publics. Together with Wood Roberdeau, she co- chairs the Goldsmiths Critical Ecologies Research Stream.
BRANIMIR STOJANOVIĆ is a psychoanalyst, philosopher and artist, member of the Belgrade Psychoanalytic Society and an international associated member of Slovenian Association for Lacanian Psychoanalysis (SALP). He is a founder and lecturer of the School for History and Theory of Images as well as the founder and editor of the The Gay Science book series and Prelom (Break) magazine. He is the Chief Editor of Ariv psihoanalize (Archive of Psychoanalysis) magazine, founder and member of the art and theory Grupa Spomenik (Monument Group), and founding member of the library and self-education institution Ucitelj neznalica i njegovi komiteti (Ignorant Schoolmaster and His Committees). He has published essays, texts and studies in the fields of philosophy, theoretical psychoanalysis, critique of ideology and art theory.
FILIPA CÉSAR is an artist and filmmaker, based in Berlin and Bissau, interested in the fictional aspects of the documentary, the porous borders between cinema and its reception, and the politics and poetics inherent to moving image. Her praxis takes media as a means to expand or expose counter narratives of resistance to historicism. Since 2011, César has been looking into the origins of cinema in Guinea-Bissau as part of the African Liberation Movement, its imaginaries and cognitive potencies, developing that research into the collective project Luta ca caba inda (The struggle is not over yet). She was a participant of the research projects Living Archive (2011-13) and Visionary Archive (2013-15) both organized by the Arsenal – Institute for Film and Video Art, Berlin. In 2017, César premiered her first feature-length essay film Spell Reel at the Forum section of the 67. Berlinale.
RUI GOMES COELHO is an archeologist working at Brown University’s Jukowsky Institute for Archeology and the Ancient World and the University of Lisbon’s Centre for Archeology. His work interests incorporate historical archeology and the intersection of materiality, visual culture, and politics.
His research interests include the archeology of slavery and forced labor, archeology of colonialism and decolonization, archeology of forced migration, archeology of contemporary past, archeology of conflict, community-based archeology and photography theory.
ANNE HISTORICAL is the occassional working name of Bettina Malcomess, a Johannesburg/Berlin based writer and artist, whose practice is defined by multivocality and a continual movement between forms. She has been producing a series of live and installational works with magnetic tape, light- signals, 8 and 16mm projection, with a research practice that inhabits the entanglement of memory, technology and history. She has published various books and book chapters. In 2018 she formed an collaborative platform for performance called the joining room. Malcomess lectures at Wits School of Arts, Johannesburg and is completing her PhD in Film Studies at Kings College London.
CHARLOTTE MALTERRE-BARTHES is a French architect, urbanist, and contemporary scholar. She is the principal of the urban design practice OMNIBUS, director of the MAS Urban Design at the Chair of Marc Angélil (2014-2019), and holds a guest professorship at TU Berlin (2018-2019). She holds a PhD from ETH Zurich, specialized in the effects of the political economy of food on the built environment. She co-authored numerous books, including Housing Cairo: The Informal Response (Berlin, Ruby Press), Some Haunted Spaces in Singapore (Zurich, Edition Patrick Frey) and Eileen Gray: A House Under the Sun (London, Nobrow). She is a founding member of the Parity Group, a grassroots association committed to improving gender equality in architecture, and co-curates the XII International Architecture Biennale of São Paulo ‘Everyday’ (Sep-Dec. 2019).
BERTRAND PERZ is a historian and professor at the Institute of Contemporary History of the University of Vienna, specializing in the study of National Socialism, forced labor, concentration camps, the Holocaust, as well as memorials and culture of remembrance. He sits as a board member of the Vienna Wiesenthal Institute for Holocaust Studies, and serves as the president of the Austrian Society for Contemporary History and chairman of the scientific advisory board of the Mauthausen concentration camp memorial site.