Violence

Khabat Abas is an Iraqi-Kurdish artist whose work reflects on the sociopolitical circumstances in Iraqi Kurdistan. She explores the boundary between her past as a music student in Iraqi Kurdistan during wartime with the performativity and materiality of sound. She is also interested in the stories, objects and sounds that surround women in this region, using her own mother’s in her work. She considers herself a rule-breaker, moving freely between artistic disciplines and possibilities with a focus on the cello, making the instrument into a different material, improvising, composing and producing sound installations, while also being interested in making videos.

Abas has performed with various ensembles, including the Iraqi National Symphony Orchestra, Sulaymaniyah string orchestra, Gothenburg Academic Symphony Orchestra and the Non-Ensemble for experimental music. She has also collaborated with curators, artists and musicians in Kurdistan-Iraq, Sweden, Germany and the UK. Abat’s last piece for electro-acoustic cello was performed in Slemani-Kurdistan as a part of the Global Listening Biennial 2021. She also performed during Space21 festival in Iraq Kurdistan 2021, the winter sound festival in Canterbury 2022 and the Borderline Festival Athens 2022.

Jumanah Abbas is an architect, a writer, and a curator, working through an ecology of interdisciplinarity that architecture debates, concepts and dialogues engage with. Jumanah received her master’s degree in Critical, Curatorial, and Conceptual Practice from Columbia University (2020) and her undergraduate degree in Architecture from American University of Sharjah (2018). Jumanah is collaborating with international institutes, regional organizations, and universities, one is “Mapping Memories of Resistance: The Untold Story of the Occupation of the Golan Heights” project in collaboration with London School of Economics, Birzeit University, and Al Marsad, Arab Human Rights Center in Golan Heights. The other is the upcoming 2024 Quadrennial project, in collaboration with Qatar Museums, which is establishing points of local histories and artistic relevance in relation to global movements and histories.

alejandro t. acierto is an artist, musician, and curator whose work is largely informed by legacies of colonialism found within human relationships to technology and material cultures. Working within and across expanded forms of documentary, new media, creative scholarship, and sound, his works have been shown work internationally at the Havana Biennial in Matanzas, Cuba, Yerba Buena Center for the Arts (San Francisco), ISSUE (NYC), Radialsystem (Berlin), and MCA Chicago among others. He is Assistant Professor of Interdisciplinary Arts and Performance at Arizona State University, New College located on ceded territories of the Akimel O’odham and Pee Posh peoples.

We are a curious and audacious collective looking at the remakes and remnants of the colonial violence of fashion. Convened by the African Fashion Research Institute and based in South Africa, the collective developed organically from the provocative online African Fashion (?) course. The multi-disciplinary cohort expands on thinking and making possibilities, enquiring whether/where the generative can intervene, interrupt, and re-fashion fragments. The collective coheres at the intersections and overlaps of the work of fashion curator and academic Dr Erica de Greef, cultural thinker and project innovator dr heeten bhagat, fashion practitioner and performance artist Lesiba Mabitsela, designer and critical fashion researcher Siviwe James, and, cultural activist and curator Russel Hlongwane. Collectively the members have published, created, exhibited, studied, disrupted, produced, collaborated, filmed, debated, facilitated, and more, across the arts fields, but with a strong focus on the politics and poetics of fashion in Africa.

https://afri.digital/

Paulo Luís Almeida is an artist, an Associate Professor at the School of Fine Arts of the University of Porto, and an integrated researcher at i2ADS—Research Institute of Art, Design and Society. He is the Co-I of the research project DRAWinU, studying the impact of drawing in sports performance training. His work explores the relationship between drawing practice and performance methodologies, combining different approaches—the narrative notion of test displacements of everyday life actions, and drawing as a social gesture.

Fiona Amundsen is an artist and writer who has exhibited widely throughout the Asia Pacific region, United States and Europe. She is Associate Professor in the School of Art and Design (AUT University) and recently completed her PhD (Monash University) which explored alternative modalities for memorialising stories and experiences associated with the Asia-Pacific War (WWII). The exhibition that resulted from this research—A Body that Lives (2018)—has been nominated for the 2020 ‘Walters Prize’, Aotearoa New Zealand’s most prestigious art award. In 2019 she was awarded a Fulbright New Zealand Scholar Award which enabled her to begin the initial research for Coming back to Life (2019 – ), a photo-filmic-writing project that explores relationships between Cold War military nuclear technologies, military-capitalism, nuclear environmental destruction and spirituality.

Pedro Aparicio is Principal at APLO Architecture & Landscape. He is adjunct faculty from the School of Architecture at the Universidad de los Andes in Bogota, Colombia. He holds a Master in Design Studies – Urbanism, Landscape, Ecologies from Harvard University. He is currently an Andrew W. Mellon researcher for the interdisciplinary project The Digital Now: Architecture and Intersectionality at the Canadian Centre for Architecture.

My work is an ongoing research on the intersection of art, historical narratives and international relations. Among my recent projects are SIB’s, École Supérieure d’Art et de Design d’Orléans (2020); Armida, C3 Contemporary, Melbourne (2019); A little better, Airspace Projects, Sydney (2018); Phantom Pain, SIART La Paz Biennial (2016); etc. I’m a founder member of the H. Committee of Human Vindication, an arts collective that operated as a universal pseudo-organization founded in 1947, and Modelab, an artistic initiative that explores public space with recent projects held at Les Traversées du Marais Festival, Paris (2019); Taipei Artist Village, Taipei (2019); Manila Biennale, Philippines (2018), etc.

Catherine Baker is Senior Lecturer in 20th Century History at the University of Hull. She specialises in the relationship between nationalism, militarism and popular culture through work that bridges post-Cold-War history, international relations and cultural studies, applying feminist, postcolonial and queer perspectives. Her most recent books are Race and the Yugoslav Region: Postsocialist, Post-Conflict, Postcolonial? (2018) and the edited volume Making War on Bodies: Militarisation, Aesthetics and Embodiment in International Politics (2020). Her articles have appeared in International Feminist Journal of Politics, European Journal of International Relations and elsewhere.

Lou Barzaghi has a bachelors degree in Architecture and Urban Planning (FAUUSP), when Ze researched Francis Alÿs and the possibilities for creating in the contemporary Metropolis. Ze is a master in Clinical Psychology (Subjectivities Studies – PUCSP), with the thesis Mapa Teatro: barbaric perspectives on Violence, and a PhD Candidate in the History department of Architecture and Urban Planning School of Campinas University. Hir research focuses are Violence, Performance and Urban Planning in Latin America.

Independent researcher and curator. He obtained his Bachelor’s degree in Art History from the Universidad del Claustro de Sor Juana (Mexico City, 2013-2016). He also holds a master’s degree in Critical Theory from the Contemporary Art Museum of Barcelona (2017-2018). He is currently pursuing an online specialization in Epistemologies of the South, decolonial theory and cognitive justice by the Latin American Center for Social Sciences (CLACSO). He has collaborated in different projects such as “Critical dialogues 03: UN-Data” (2016); “transformaciones residuales” (laboratory of artistic experimentation and research, mediated by the TRES collective, 2017); “Anecdoteca, notes to hear the objects” (visual essays of the archive of the Catalan artist Francesc Torres, 2018); “imaginologies of the urban” (curatorial residency in Havana, 2019). His research projects focus on the intersections between history, aesthetics, ecology and politics, visual cartographies that reveal the processes of modernization and urbanization of postcolonial cities.

Dorell Ben is a Gujarati-Rotuman woman from Fiji. Ben’s art and research explore the reawakening of women’s Oceanic cultural tattoo practices and the liminality of tattoo motifs that transcend time and space.

Elizabeth Briel was born in California (1974). She received a BFA in Painting from the University of Minnesota, and has lived and worked over a decade in Greater China. Her prints, paintings, and installations begin with materials imbued with meaning—papers devastated by a typhoon or made of military uniforms, paints of bone and lead—and frequently incorporate architectural elements. As an immigrant on the outside looking in, buffeted by partially-understood languages and cultural norms, she is often welcomed, sometimes tolerated, never accepted. This interior/exterior duality makes its way into many of her artworks. She has exhibited in four continents, been awarded fellowships and residencies from China Exploration and Research Society (Shangri-la), Terap Ulang Print Studio at University Sains Malaysia (Penang), and Grabart residency (Barcelona). Briel runs EBriel Studio in Hong Kong’s Creative Arts Centre, and works as artist-in-residence with the Yew Chung Education Foundation.

I am an American artist and researcher based in Madrid, where I am currently carrying out a PhD in Fine Arts at the Universidad Complutense de Madrid. I studied printmaking at the Escuela de Arte de Oviedo, and hold an MFA from the Universidad Complutense and a BA in Linguistics from Reed College (Oregon, USA). My work has evolved out of printmaking to address broader issues concerning the physical trace. This includes themes such as how the past materializes in the present; issues concerning the optical unconscious in photography; or the uses, functions and aftereffects of violence. My work therefore relies on techniques both hi-tech (e.g. 3D modelling and printing) and low-tech (e.g. rubbings) to craft experiences that inform how we view and interpret our surroundings.

Alberto’s work traverses art productions, research, curatorial projects alongside a career as a professional artist and curator. Alberto Cattani holds a Master’s degree in Fine Arts at KASK Conservatorium & School of Arts in Ghent. Alberto’s artistic practice traverses sound installations, electroacoustic and instrumental composition, as well as site-specific interventions. He often uses the way of appropriation to rework media files aiming to explore the relation between virtual and real-world through a sociological point of view, in a perpetual investigation of the matter and its narratives. In his recent works, he focuses on the sonic possibilities of Artificial Intelligence and self-generative sounds.

The Solmaz Collective is a artistic research group comprising:

Helen Eriksen is an artist research investigating aesthetic decision making in post colonial art practices at the University of Agder for her phd. She studied at the National Academy of Fine Art, Oslo, and as a researcher for art in public space at the Oslo School of Architecture. Eriksen is a founder member of, curator, and project developer for Tenthaus. As an artist/educator, she focuses on the emancipatory and utopian potentialities within participatory art making. She also works with Germain Ngoma in Europe and Scandinavia. http://tenthaus.no.s3-website.eu-north-1.amazonaws.com/about/

Gry O. Ulrichsen studied at Trondheim Academy of Fine Art, Norwegian University of Science and Technology where she is currently a PhD research associate. She explores productive entanglements between new materialisms and postcolonialisms and how they present through collaborative, participatory and socially engaged practices in the fields of art and education. Gry has published articles in journals such as InFormation and JASED and presented at Rethinking Nordic Colonialism in Nuuk, LARM festival in Stockholm, Fritt Forum in Gothenburg, Manifesta 4/Research room in Frankfurt, Lofoten Internasjonal Artfestival, Fotogalleriet and Kunstnernes Hus in Oslo, NRK ULYD and Svensk radio SRC.

Dr. Zahra Bayati is a senior lecturer in education science and advanced study programme for higher education art teachers, and gender studies at Gothenburg University. She has lectured extensively, contributing at Nordic universities and international conferences. Her thesis The Other in Teacher Education – A study of the racialized Swedish Student Conditions in the Epoch of Globalisation (2014) has been the focus of her most recent lectures, contextualizing it in discussions of anti-racism, feminism, socio-economic relations and environmental issues. She has been a guest speaker at Swedish networks of Somalian academics, Feminist Forum and Feminist Research Network as well student unions focusing on how to address challenges of change in

Erik Dæhlin (born 1976) is a Norwegian composer, director and artist. He is concerned with instrumental- and music theater; music that integrates different kinds of performative material, unfolding in and beyond the music and in context to the performance space. He makes hybrid art works, where he composes and devises musical, visual and textual material, making conglomerate forms of sound based art. He also composes solo and chamber music and electro-acoustic music, as well as installations and other art works.

He has his education from the conservatory in Tromsø, The Academy of Fine Art in Oslo and the Norwegian Academy of Music. Studies with Henrik Hellstenius, Asbjørn Schaathun, Jörg Mainka, Helmut Lachenmann and Helmut Oehring.

He has worked with musicians and ensembles such as Karin Hellqvist, Håkon Stene, Liv Glaser, Silje Aker Johnsen, Frank Havrøy, Ingfrid Breie Nyhus, the Norwegian Radio Orchestra, MiN Ensemble, Oslo Camerata, Ensemble neoN, NING, Pinquins, BIT20, NRK, Cikada among others. His music is performerd through out Europe as well as in USA and Asia.

At the time being, he is finnishing an artistic research fellowship position at the Norwegian Academy of Music, exploring compositional practice and artistic strategies in his project “Memory as Material”. Supervisors are Henrik Hellstenius, Arnold Dreyblatt and Camilla Eeg-Tverbakk.

Sharon Daniel is a media artist who creates interactive and participatory documentary artworks addressing issues of social, racial, and environmental injustice, focusing principally on mass incarceration and the criminal legal system. She develops innovative online interfaces and multi-media installations that visualize and materialize the testimony of incarcerated people. Her work has been exhibited in museums and festivals internationally. Her work has been honored by the Webby Awards, a Rockefeller/Tribeca Film Festival New Media Fellowship, and a Fulbright Fellowship. She was named in the Yerba Buena Center for the Arts “YBCA 100” – a list of “the creative minds, makers, and pioneers that are asking the questions and making the provocations that will shape the future of American culture.” Daniel is a Professor of Film and Digital Media at the University of California, Santa Cruz. Documentation of exhibitions and links to projects can be found at http://sharondaniel.net.

Fiona Davies is an Australian visual artist. Her practice is a trans disciplinary investigation into the systems, materials and processes of medicalised death in hospital. Her Education includes a practice led PhD from the University of Sydney, B.App.Sc. (UNSW), a BVA (UWS) and a MFA from Monash University. Significant exhibitions and events from 2021 have included Space YZ at Campbelltown Arts Centre, curated by Daniel Mudie Cunningham, selection for the 5th Indian Film Festival in Hyderabad, Carnivale Catastrope in Cementa 21 (upcoming) and the launch of a range of plague dolls online. In 2020 they included selection for the International Limestone Coast Video Art Festival at the Riddoch Art Centre, Mount Gambier, S.A. and a number of online exhibitions including Shift + Control + Escape at BMCC. In 2019 they included Woven Architecture at the State Silk Museum in Tbilisi, Georgia and my PhD examination exhibition Cast a Cold Eye on Life, on Death: The Remake: Medicalised Death in ICU.

Lexington Davis is a writer and scholar whose current doctoral research explores feminist art from an intersectional perspective, focusing on issues related to care, labor, and collectivity. Currently based in Amsterdam, she is also a practicing curator and has held positions at the Finnish Museum of Photography, Helsinki; the Stedelijk Museum, Amsterdam; and the Los Angeles County Museum of Art. Her work has been supported by a Fulbright fellowship, Parallel — European Based Photo Platform, the Austrian Federal Chancellery, and the Culture Department of the Styrian Provincial Government. She regularly presents work at conferences in North America and Europe, and her writing has appeared in publications including Flash Art and Metropolis M. She holds an MA from the Vrije Universiteit, Amsterdam and a BA from Bard College, New York.

Lisa Deml is a curator and writer based in Berlin and London. Initially trained as a journalist, she subsequently worked for public institutions and non-profit organisations internationally, including Haus der Kulturen der Welt (HKW), Berlin, Haus der Kunst, Munich, and Ashkal Alwan, Beirut. Her texts have been featured in exhibition catalogues and journals, including Rabih Mroué: Interviews (ed. Nadim Samman, KW Institute for Contemporary Art, Berlin: 2022) and Love and Ethnology: The Colonial Dialectic of Sensibility (after Hubert Fichte) (eds. Diedrich Diederichsen, Anselm Franke, Haus der Kulturen der Welt, Berlin: 2019), as well as in Third Text and Critical Arts. Her current Midlands4Cities funded research project at Birmingham City University investigates the aesthetics of citizen journalist media production and its appropriation in artistic, curatorial, and historiographical practices.

Angeliki Dimaki-Adolfsen is a Greek-Norwegian designer and PhD-fellow at the Academy of Art and Design, at University of Gothenburg. Through her project Border play(spaces), she investigates the spatial and temporal aspects of playspaces, through the lens of design in the Greek borderlines. Angeliki gained her BA in Interior Architecture and Design from the Technological Institute of Athens. She holds a MA in Design from the Oslo School of Architecture and Design in 2010 where she has been residing since then.

A crossbreed between Anthropology and Visual Cultural Studies, with a consistent background in Communication. After more than 10 years in Advertising, Cristina Dogaru took a twist to Academia with a thesis in Visual Anthropology on the “architectures of mind in corporate environments” at Aarhus University (Denmark). She is now preparing a dissertation on the “unsettling bodies of the Posthuman” at CESI – Center of Excellence in the Study of Image, University of Bucharest (Romania). Meanwhile, she is studying Everyday Aesthetics at Sapienza University in Rome (Italy) within the CIVIS mobility programme. Her research interests span biopolitics, organizational anthropology, imaginaries of the Posthuman, digital media cultures and performance studies.

Professor Catherine Dormor is a practising artist, writer and academic whose research focuses on the ways in which textile practices and structures can become vehicles for thinking about what it means to be in community. She takes a feminist approach to community, in which care, compassion and the ethics of the individual become focal points for art-making and art-thinking. She is currently Pro Vice-Chancellor and Head of College: Design, Creative and Digital Industries at the University of Westminster, London, leading a large team across a range of creative disciplines within which learning and teaching are spaces for mutual engagement and understanding.

Yasmine Eid-Sabbagh studied history, photography, and visual anthropology in Paris. From 2006 to 2011, she lived in Burj al-Shamali, a refugee camp next to Sour, Lebanon where she carried out photographic research that includes a dialogical project with a group of young Palestinians, as well as archival work on family and studio photographs. Since 2008, Eid-Sabbagh has been a member of the Arab Image Foundation (www.fai.org.lb). She has been a doctoral candidate at the Academy of Fine Arts in Vienna since 2011. Lecture at The persistance of images, EHESS, Paris, and intervention with Necessità dei volti at Le Bal, Paris, October 2013. Performance at On Violence, Symposium of the Limerick Biennial, Irish Museum of Modern Art Dublin, March 2014. Artist in Residency at the Palestinian Museum, Ramallah/Birzeit, Palestine, August-November 2014. Performance at Archives Power Society, University of Fine Arts Braunschweig, Germany, February 2015

Michelle Eistrup is a visual artist, arts producer, and instigator of artistic collaboration who lives in Copenhagen, Denmark. Michelle’s art incorporates themes of identity, corporeality, faith, memory, and post-colonialism, where her transnational background (Danish, Jamaican, American) is sometimes a point of departure. She traverses varied artistic expressions that include photography, drawing, video, sound, and performance.  She is co-editor of 3 Volume publication Bridging Art and Text, 2017.

Amina Ejaz is a Doctoral student at the University of Victoria in the Department of Art History and Visual Studies, Canada with a concentration on contemporary Pakistani Art History. She has diversified research interests, which revolve around postcolonial theory, decolonization, activism, and feminism in Pakistan. Her upcoming publication is a contribution to a book on the anthology of Visual Activism, being published by Sheffield Hallam University. She has completed Masters from the University of Edinburgh, UK. Her Postgraduate thesis, was an analysis on the reception of Pakistani contemporary artists in the West using Postcolonial studies and Translation studies as a tool to decode and de-layer the writings of Western art critics about South Asian artists. She joined the National College of Arts, Lahore as an Assistant Professor in the Cultural Studies Department in 2015, where she has taught Art History courses to Undergraduate students. In addition she also taught courses on South Asian Visual Culture to MPhil students enrolled in the Cultural Studies Program.

Jack Faber is a filmmaker-researcher whose practice investigates the intersections of militarization, ecology, technology and anticipatory imaginaries. His work merges subversive storytelling with rigorous research, offering fresh perspectives on historical and emerging narratives, myth-making, and contemporary crises. Faber often explores interdisciplinary methodologies, combining cinema and animal studies, cultural analysis, and philosophical inquiry to create richly layered texts and participatory artworks.

His recent project, Accelerated Landscapes, exhibited at CCA Tashkent, reflects his commitment to making complex ideas accessible through compelling visual forms and public engagement. He has published three books, contributed to a range of publications, and exhibited award-winning films and installations internationally.

In recent years, Faber has focused on vulnerable climate frontiers, particularly in the High Arctic, where the entanglement of environmental change and militarization profoundly affects ecosystems, local communities, and more-than-human life. Through these contested landscapes, he examines the infrastructures that shape collective understandings of conflict, progress, and survival in increasingly fragile environments.

Eleonora Fabião is a performance artist and theorist. She has been performing, lecturing, teaching and publishing internationally. Her performances have been enacted in several contexts – festivals, exhibitions, museums, sociocultural projects – and, mainly, in the streets. Things That Must Be Done Series (Performa Biennial, NY 2015) is the title of a work and, also, a way of referring to her artistic practice. Professor at the Federal University of Rio de Janeiro, School of Communication – Theater Directing Undergraduate Program and Arts of the Scene Graduate Program. Chair of the Theater Directing Program. Fabião holds a PhD and an MA in Performance Studies (NYU) and an MA in Social History of Culture (PUC-Rio). In 2011 she received the Arts in the Streets’ Award from the Brazilian Foundation of the Arts and in 2014 the Rumos Itaú Grant that resulted in the publication of the book AÇÕES/ACTIONS (Rio de Janeiro: Tamanduá Arte, 2015). Institutions where she taught as visiting professor include: Department of Performance Studies NYU, UNA Buenos Aires, Norwegian Theatre Academy, Stockholm University of the Arts, Universidad Castilla-La Mancha y Museo Reina Sofia, Amsterdam University of the Arts and Iceland University of the Arts. Fabião is a Researcher Level-2 of the Brazilian National Council for Scientific and Technological Development (CNPq). A recent bilingual publication about her work is ARTE_BRA Eleonora Fabião (Rio de Janeiro: Automática, 2021) – available at: https://www.colecaoartebra.com/_files/ugd/6e80d1_7b42ba0d718042d183fdcc4b58e7a1cc.pdf

Niamh Fahy is an Irish Artist and Research Associate at the Centre for Print Research, University of the West of England, currently studying towards a PhD. She completed her BA in Fine Art Printmaking at the Limerick School of Art and Design, Ireland, and holds an MA in multidisciplinary Printmaking from the University of West England (2019). Her research investigates how print artists can contribute to understanding changes within the landscape that are a result of slow violence. She has recently been awarded the UWE HAS-ACE connecting research project grant for the project “Slow Violence and River Abuse: The Hidden Effect of Land Use on Water Quality”. Her work has been exhibited nationally and internationally in shows including “The Masters: Relief”, Bankside Gallery, London; The RWA, Bristol; The TYPA letterpress and Paper Arts Centre, Tartu; International Printmaking Conference Impact 9, Hangzhou; and Impressions Biennial, Galway Arts Festival.

Dror Feiler (1951) was born in Tel Aviv and moved with his family to the kibbutz Yad Hana in 1967. He is active as a composer of modern music, which includes composition music for symphonic orchestras, opera, chamber music and electro-acoustic music. In addition Feiler plays saxophone in the improvisation group Lokomotiv Konkret, and have founded the Too Much Too Soon Orchestra. In January 2004 he and Gunilla Sköld-Feiler made international news with their art installation Snow White and The Madness of Truth which referred to female suicide bomber Hanadi Jaradat, which was vandalized by the then Israeli ambassador to Sweden Zvi Mazel.

Ivan Gerát (Ph.D. Freiburg 1994) is the director of the Institute for Art History in the Art Research Centre of the Slovak Academy of Sciences in Bratislava and an art history professor at the University of Trnava. His published books include Legendary Scenes: An Essay on Medieval Pictorial Hagiography (2013), Iconology of Charity (2020). As a board member of the NOVUM Foundation, he has been an editor of a series of publications devoted to contemporary art problems.

Ruby Gilding is an art historian with interests in threatened culture, photography and digital humanities. After graduating from the University of Oxford, she joined contemporary arts organisations based in Southeast Asia and the Middle East—most notably working on the Iraq Pavilion at the 58th Venice Biennale. In 2020 she graduated from the Courtauld Institute of Art’s MA History of Art, where she specialised in global documentary photography, gaining a Distinction for her dissertation on thermal images of the refugee crisis and the biopolitics of Giorgio Agamben. Gilding has written for a number of cultural organisations, including the Wellcome Collection, The Photographers’ Gallery and The Oxford Research Centre in the Humanities, and currently works for the Natural History Museum in London.

Biography coming soon

Dr. Lisa Godson researches, teaches and writes about architecture, material culture and art. Her books include Modern Religious Architecture in Germany, Ireland and Beyond; Uniform: Clothing and Discipline in the Modern World; Making 1916: Visual and Material Culture of the Easter Rising and The Secret Lives of Objects. Recent publications include ‘Self-Determination and Usable Pasts, 1922 and 2022’ in Art and Self-Determination: a Reader (2023) and ‘Bodily-Material Culture Techniques in the Spaces of the Devotional Revolution’ in Journal of Victorian Culture (2023).

Godson’s collaborations includes the award-winning feature documentary Build Something Modern with Still Films, based on her research into modernist architecture in West Africa and as research consultant to: the Irish Museum of Modern Art for the exhibition Self-Determination: a Global Perspective (2023-4), the Victoria & Albert Museum for the design history of the vaginal speculum (2021), the artist Eimear Walsh for ‘Romantic Ireland’ at the Venice Biennale (2024) and the artist Jesse Jones for ‘Tremble Tremble’ at the Venice Biennale (2017).

Godson is currently Visiting Research Fellow in the Department of the History of Art and Architecture at Trinity College Dublin while writing a critical material history of the site of the Irish Museum of Modern Art, on sabbatical from her role as Programme Leader of the MA in Design History and Material Culture at the National College of Art and Design.

Adela Goldbard is an interdisciplinary artist and educator who believes in the potential of art to generate critical thinking and social transformation. Her work questions the politics of memory —who wants whom to remember what and why— by suspecting official narratives, archeological preservation, state-sanctioned celebrations, and mass media. Her research-based practice examines how radical community performances, rituals and reenactments are means to contest and subvert physical, ideological and structural violence. She is especially interested in how destruction can become a ritual, a statement, a metaphor, a way of remembering and a form of disobedience. Goldbard is Assistant Professor at the Rhode Island School of Design. She holds an MFA as a Full Merit Fellow in Sculpture from the School of the Art Institute of Chicago and a bachelor’s degree in Hispanic Language and Literature from the National University of Mexico. Originally from Mexico City, she lives and works in the US and Mexico.

Maia Gusberti is an artist based in Bern and a researcher at HSLU. Her work develop from questioning (lens based) images, their materiality and framing through de-/reconstruction and between static and moving images. She transforms images to use them as a poetic space of affection and agency. The image is her projection surface, a space for thinking, a repository of collective and individual imagination. Her conceptual approach leads to process-oriented fragmentary assemblages, essayistic layouts, installations and video works. The city as a living organism, a multi-layered landscape, a framework of personal experiences and social processes is the visual background of her studies. Her artistic practice involves curatorial projects as i.e. the film series  “Komplexe Bilder” (Cinema REX, Bern) or the exhibition “Choreography of the image” (Kunsthalle Exnergasse, Vienna). She repeatedly visited the Middle East as an artist in residence, lived and worked in Vienna, Cairo, Brussels and Bern. Her works are presented at inter/national exhibitions, conferences and festivals (www.maiagusberti.net).

Born in Toronto in 1985, Alec Hall lives in New York City, where he works as an independent composer. His music is centered on the nature of acoustic materials in the post-Avant-Garde musical landscape. Through samples, field recordings and other representational elements of sound, Hall has created a wide-ranging body of work that crosses traditional boundaries, including solo and chamber works, orchestral compositions, experimental opera, architectural environments, kinetic installations, and intermedia pieces. His work has been supported by the Canada Council for the Arts, the Conseil des Arts et des Lettres du Québec, the Fromm Foundation, Arts Council Norway, the New York State Council on the Arts, the French American Cultural Exchange, New Music USA, the John Simon Guggenheim Memorial Foundation, the New York City Artist Corps, the Fromm Foundation, Das Land Steiermark (Austria), and he holds a D.M.A. from Columbia University.

Ola Hassanain trained her focus on the subtle politics of space—namely, how built spaces react to and reinforce violence from state entities, which in turn, creates a built environment that reflects, responds to, regulates the lives of those who inhabit it. Her most recent work explores an idea of “space as discourse,” an expanded notion of space that encompasses political and environmental questions. Her work tries to develop a spatial vocabulary that follows how ruptures presented by ‘political events’, make it possible to aspire to new kinds of ecologies. Ola’s development of critical spatial practice is party informed by her post-academic training which includes an ongoing Ph.D. in Practice candidacy at the Academy of Fine Art, a BAK fellowship 2017-2018, and teaching in HKU University of the Arts Utrecht and Sandberg Institute amongst others.

Bernhard Hetzenauer was born in 1981 in Innsbruck/Austria. He studied Scenography with Prof. Bernhard Kleber at the University of Applied Arts Vienna, Film and Photography at the Academy of Fine Arts Hamburg with Prof. Wim Wenders, Pepe Danquart and Silke Grossmann, as well as Gestalt therapy in Quito and Buenos Aires. He is a media artist, filmmaker and writer. His work focuses on questions of subjectivity, representation and the construction of memory. His films and videos have been shown at exhibitions, film festivals, in theaters and on TV in 36 countries and received various awards. His film theory essay “Das Innen im Außen” (The Inside on the Outside) on Jacques Lacan’s Theory of the Gaze and the film language of Béla Tarr was published by Alexander Verlag in Berlin and UNAM in Mexico City. In 2017/2018 his film “La sombra de un dios – A God’s Shadow” was selected at Viennale, Max Ophüls Preis and 50 other international film festivals. His multi-channel video installation “Faces of Athens” on the decline of the Greek healthcare system during the financial crisis was shown in an eponymous solo exhibition at the Künstlerhaus in Vienna and KC Grad gallery in Belgrade. In October 2020 it was also part of the group show “Convergence” at the Kunstpavillon Innsbruck. In 2019 Hetzenauer’s artist book “Faces of Athens” was published by Revolver Publishing in Berlin. His recent film “The Birthmark” premiered at the Morelia IFF 2019 and the Max Ophüls Preis 2020 in Saarbrücken and was screened at St. Louis IFF, Filmfest Dresden, Austrian Cultural Forum New York, SESIFF Seoul, Antofacine Chile, FIDBA Bunenos Aires, ISFF Grimstad, Go Short Nijmegen and Braunschweig IFF, among many others. He is currently working on two new film projects at the border of Mexico and the US.

Salad Hilowle (b. 1986, Somalia) is both an artist and a film director. Hilowle holds an MFA from the Royal Institute of Art in Stockholm. Hilowle is currently working on a feature film with the working title Tungomål and is also a Bernadotte Fellow for 2020. Solo exhibitions include: Vanus Labor, the Academy of Fine Arts (Stockholm); Home Is Where the Heart Is: Part II, Österängens konsthall; Buurha u Dheer (Passion of Remembrance), Royal Academy of Arts (Stockholm); Home Is Where the Heart Is, Konstfack Gallery (Stockholm); and Brev till Sverige, Tierp konsthall. Hilowle lives and works in Stockholm.

Elisabeth Hjorth defended her dissertation in Ethics at Uppsala University in 2015. Her postdoc project was financed by the Swedish Research Council and revolves around female autobiography, violence and shame in relation to writing, in conversation with Adriana Cavarero, Chris Krauss, Simone Weil, Marina Abramovic and others. In 2020 SRC granted her funding for the project “Autistic writing: reclaiming, reloading another mother tongue” together with Professor Jonna Bornemark and Associate Professor Hanna Bertilsdotter-Rosqvist.

Jamie Holman and Masimba Hwati are working with curator Alex Zawadzki on ‘Colonial Amusements,’ an exhibition for the British Textile Biennial 2021. Holman’s work is multi-disciplinary and is often fabricated using industrial processes or with heritage crafts makers and artists. His work is informed by the heritage of working class communities, in particular the impact of the industrial revolution and the cultures that have manifested as a consequence of its emergence and subsequent decline.

Hwati, is a Zimbabwean interdisciplinary artist, working at the intersections of Sculpture, performance and sound, known for unconventional three-dimensional mixed media sculptures. In 2015, he was one of three artists selected for Pixels Of Ubuntu/Unhu for the Zimbabwean Pavilion at the 56th Venice Biennale. He is an honorary research fellow at Rhodes University Fine Arts Department in Grahamstown, South Africa. Hwati is currently a PhD student at the Academy of Fine Arts, Vienna.

Emilia Izquierdo is an artist based in London, UK working in experimental video art using hand drawn animation and archival film footage. MFA from the Slade school of Fine Art, UCL, London. MA Art & Politics/Film & Screen Studies from Goldsmiths University, London. Since 2012 she regularly exhibits her work in Experimental Film Festivals, Video Dance Festivals, residencies and exhibitions around the world. Most recently Experimenta, BFI London Film Festival, London UK (2020,2019), Athens Video Dance Project, Athens (2020), L’Alternativa, Independent Film Festival, Barcelona (2020), Film-maker’ Coop, NYC (2020), Istanbul Experimental Film Festival (2019), CODEC, Experimental Film Festival, Mexico City (2019), Dobra Experimental Film Festival, Rio de Janeiro (2019). Her work explores the politics of body in motion and dance as a form of political resistance. Dance as a subversive embodied method of communication that has the potentiality for radical hope, giving a possibility to dance a new world.

Biography coming soon

Anders Juhl is a historian, writer, composer, and creative producer. He has made sound pieces and composed music for art video and theater, and film scores and songs.From different perspectives and positions, he is a supporter of a decolonial approach within the art scene in Denmark, previously from a CEO at The Karen Blixen Museum, and now chairman of the Association of Centre of Colonial History and within the theatre company ACT – Afro Cosmopolite Thespians. He is producer of 3 Volume publication Bridging Art and Text, 2017.

Axelle Karera received her PhD in philosophy from Penn State University. Prior to joining Emory University, she was assistant professor of philosophy and African American studies at Wesleyan University. Karera works and teaches at the intersection of 20th century continental philosophy, the critical philosophy of race (particularly Black critical theory), contemporary critical theory, and the environmental humanities. In addition to a project on Blackness and ontology, as well as a forthcoming paper on Blackness and hospitality, she is currently completing her first monograph titled The Climate of Race: Blackness and the Pitfalls of Anthropocene Ethics. In the book, Karera turns to the question of relationality in new materialist ontology and speculative realism’s purported return to metaphysics. More importantly, the book’s investigations attempt to discern the ethical core of critical thought in the age of the Anthropocene, with an intention to attend to its powerful – and perhaps even necessary – disavowals on matters pertaining to racial ecocide.

Dages Juvelier Keates (she/they) is an artist working with and through the materiality of their body as a somatic space for holding paradox. Deeply influenced by psychoanalysis, they carry out a queer feminist study of the subjective body as an accumulation of unanswered questions; a carnal, poetic, ephemeral archive entangled within and between “others.” Their ongoing praxis as a performer, choreographer, writer and teacher has garnered international acclaim for the melding of expression and theory. They have recently participated in panels and taught for “Audience Advocates” at University of North Carolina, Ariana Reines’ Invisible College, The Royal Institute of Art (Stockholm, Sweden), Tabakalera International Centre for Contemporary Culture (San Sebastien, Spain), Palais de Tokyo (Paris, France), Parsons/The New School (NYC), New York University (NYC), Colgate University (New York, USA), Newington-Cropsey Foundation (New York, USA), Temple University (Philadelphia, PA). Dages published “Radical Acts of Embodiment,” released with a reading at McNally Jackson in New York City.

Josefina Klinger is a socio-environmental leader and director of Corporación Mano Cambiada, an organization based in Nuquí, Chocó in the Pacific Coast of Colombia. Mano Cambiada translates to exchange of knowledge-craft, a local ancestral practice based on solidarity and peer relationships over paper money. Mano Cambiada is a reference in community-based tourism and has led projects such as the Ensenada de Utría National Park Visitor Center and the Pacific Migration Festival. In 2015, Josefina was recognized with the Cafam Woman Award for her contribution to ecotourism as an activity that energizes and articulates local value chains and develops social and economic projects focused on children and youth, culture and environment, entrepreneurship and production. Josefina is currently co-leading the nomination of the Pacific Migration Festival as an immaterial heritage that will form the pedagogical and architectural design for the Veanvé Environmental Artistic Center in Nuquí, Chocó.

Throughout their respective art careers, Björn Larsson and Carl Johan Erikson have, in a large number of artistic projects, generated alternative narratives and artistic statements on Swedish contemporary history. They have both conducted representative documentary projects spanning long periods, where the ongoing work has been conditional on gathering visual documentation. “Direct award contracts for a short film about medical age assessment” is part of the artistic research project Refuse to Kill – stories of the conscientious objectors funded by the Swedish Research Council. The project in ongoing since 2013 and have resulted in several publications as well as national and international presentations and exhibitions. https://vagradoda.se

Andrea Liu is a New York City/Berlin-based visual art and performance critic (and artist) whose research often involves geneaology, or the epistemic context within which bodies of knowledge become intelligible and authoritative, as a point of departure in art production. She was curator of Counterhegemony: Art in a Social Context, a theoretical fellowship program for visual artists. She has received fellowships from Jarislowsky Outstanding Artist Award Fellowship at Banff Centre, Museum of Fine Arts Houston (Core), ‘Museum in a Liminal State’ at Center for Experimental Museology, and since 2009, was awarded over 12 artist residencies in U.S., Berlin, Copenhagen, Barcelona, Prague, Italy, including Atlantic Center for the Arts, Art & Law Program, Ox-Bow/Art Institute of Chicago, Centrale Fies Liveworks Performance Act Award Vol. 4. She has written art/performance criticism for Afterimage, ArtMargins, Art US, e-flux (AUP), Social Text, New Museum Social Practice Glossary, Movement Research Journal, and has book chapter contributions to IN Works 931-14209 (Edition Fink, 2014), Deste 15th Anniversary 1999-2015 (Deste Foundation, 2017), An Anthology on Failure (Genderfail, 2018) and The Ooze (Aditya Mandayam) (Kunstverein Munich Companion Series, 2019). She has given talks at Centre for Postdigital Cultures (Coventry University, UK), Royal Central School of Drama & Speech (UK), London Conference in Critical Thought, Society for Artistic Research Conference (University of Plymouth, UK), Graduate Centre for Europe (University of Birmingham, UK), Yale University Whitney Humanities Center, CTM Festival (Transmediale Berlin), Jan Van Eyck Alumni Conference, Sorbonne VALE (Voix Anglophones Littérature et Esthétique), CARPA 7 (Colloquium on Artistic Research in Performing Arts at University of the Arts Helsinki), Geffen Museum (Los Angeles Printed Matter Contemporary Artist Books Conference), College Art Association, NYU Performance Studies Conference (Affect Factory), MASS MoCA (Museum of Contemporary Art Massachusetts), Black Mountain College Museum & Arts Center, amongst others. She received her undergraduate education from Yale University and thereafter was a Visiting Scholar at Centre Parisien d’Etudes Critiques in Paris, France. (https://replaceandrea.blogspot.com)

Tracy Mackenna (SCO-IT) is an artist and educator, and Professor Emerita. She is Co-Curator of The Museum of Loss and Renewal, an art project that offers space and contexts for making and sharing. The Museum is a growing collection of experiences that are regularly shared through the activities of its curators, partners and residents.  In her individual practice and research Tracy employs drawing and writing as dialogical processes to activate playful, provocative and non-linear properties of language, giving new and refreshed voice to collaborators and subject-matters.  Extensive periods have been spent living and working in Hungary, Romania, France, the Netherlands and Italy making art, and establishing artist-led organisations. She is a founding-Director of Glasgow Sculpture Studios, an Academician of the Royal Scottish Academy of Art and Architecture and holds the Personal Chair of Contemporary Art Practice at Duncan of Jordanstone College of Art & Design, University of Dundee.

Ivana Mancic is a PhD student in Fine Art, School of Art and Design at Nottingham Trent University, UK. The research she is undergoing in its focus has art practice and it is aimed at the production of photographs the purpose of which is to display the personal narrative and address the issues of war, loss and belonging, related to the specificity of the ex-Yugoslav context in order to contribute to developing of the female voice of artists and pacifists in contemporary art.

Elisabeth Gunawan is a Chinese Indonesian actor, theatremaker and physical performer. She is an associate artist of several cutting-edge physical theatre companies including the David Glass Ensemble and Flabbergast Theatre. Elisabeth has studied with many pioneers of theatre including Philippe Gaulier and the late Mary Overlie. She trained at the Royal Academy of Dramatic Art (M.A.) and New York University (B.A.).

Matej Matejka (Poland) is a multi award-winning theatre director, teacher of movement, actor and founder of Studio Matejka. In Poland, since 2006, he has been associated with Teatr ZAR and the Grotowski Institute in Wrocław, where he led movement research in years 2005-2018. He has worked over 15,000 hours of workshops with various groups and artists across 5 continents and 28 countries. He participated in several theatrical expeditions to Mount Athos, Sardinia, Corsica, Morocco, Georgia, Egypt, and India.

Frauke Materlik. Germany / Norway. Artist, Landscape Architect and Academic. Expertise: Performance and art installation. Expertise: Research on landscape and infrastructure, writing, German, Norwegian, English language skills. Extended stays and working periods in the Arctic. Member of Performance Art Bergen, Norway: www.performanceartbergen.no www.fraukematerlik.eu

Dr Laura McAtackney is an Associate Professor in the Department of Archaeology and Heritage Studies at Aarhus University, Denmark and a Docent in Contemporary Historical Archaeology at the University of Oulu in Finland. Her research uses contemporary archaeology and critical heritage approaches to explore social justice issues, including long-term studies on political imprisonment in Ireland (Long Kesh / Maze prison and Kilmainham Gaol) and post-conflict Northern Ireland (especially materialized segregation), gendered perspectives on the past and the experiences and memory of the colonial Caribbean. She is currently the PI for an Independent Research Fund Denmark Project Enduring Materialities of Colonialism: temporality, spatiality and memory on St Croix, USVI (EMoC) (2019-2024), a Co-I on ARCHAEOBALT (2018-2022), an EU-Interreg project on archaeological tourism and is part of the OPEN HEART CITY collective working with Magdalene Laundries in Ireland.

Áine McKenny is a PhD researcher based in the Centre for Memory, Narrative and Histories at the University of Brighton. Her research interests include war and conflict, gender, memory, oral history, contestation, emotions and the display of these subjects in exhibition spaces. Her PhD research examines the representations of women within exhibitions on the Troubles in Northern Ireland.

Eleni Michaelidi (b. 1983, Athens) is a contemporary art historian, editor, and curator. She studied archaeology and art history in Athens, Berlin, and holds an MA Diploma in media art histories. She has previously worked for the DESTE Foundation for Contemporary Art, Snehta Residency, and the Bergen Assembly, and was Curator in Residence at the Salzburger Kunstverein (2018). Her research interests focus on experimental time-based media, histories of the exhibition form, and the concept of urgency in contemporary art. Eleni is currently Research Fellow of the project post documenta: contemporary arts as territorial agencies, a collaboration between the Athens School of Fine Arts and the Academy of Fine Arts Leipzig. She lives and works in between Athens and Berlin.

Zohreen Murtaza is a graduate of National College of Arts, Lahore and also completed her MA (Hons.) Visual Art Degree from NCA. Currently she is a Lecturer and Permanent Faculty member in the Cultural Studies Department at NCA. Zohreen writes on art and is a regular contributor to various publications such as Artnow (Pakistan) and the daily newspaper Dawn. She has attended various workshops and faculty training programs. Her current research interests include transnational encounters in culture, material culture and art. The impact of colonialism in a post-colonial contemporary art scene, Mediation/conflict of identities as artists navigate and produce work in a global art market.

Per Anders Nilsson (1954). Professor in Music and Media at Academy of Music and Drama at University of Gothenburg. Improvising musician and composer. Studied music 1981-87 at the University of Gothenburg. In 2011 Nilsson defended his doctoral thesis A Field of Possibilities. Nilsson and Palle Dahlstedt are currently running the research project “Systemic Improvisation” supported by the Swedish Research Council. In the 70s and 80s he managed his own bands as well performed occasionally in other constellations. In 2009 Nilsson toured Sweden with Beam Stone featuring the saxophone player Evan Parker. In 2014 duo pantoMorf toured with AMM in Sweden. Releases: the solo CD Random Rhapsody in 1993, the group Natural Artefacts released CDs in 2001, 2005, 2014, and 2019 plus Strings and objetcs with Nilsson/Sandell, and Duo duo pantoMorf with Palle Dahlstedt (www.lj-records.se), in 2008 and in 2009 with Beam Stone on the English label PSI.

Biography

Dr. Sandra Noeth is a Professor at the HZT-Inter-University Centre for Dance Berlin, and an international curator. She specialises in ethical and political perspectives towards body-practice and theory. In various transdisciplinary projects and collaborations, she engages with bodies under structural violence and the potential of artistic practice and aesthetic experience to raise awareness and build agency for the systemic non/representation of some bodies, see Violence of Inscriptions, with A. Zaides, 2016–18, HAU Hebbel am Ufer; What does it take to cross a border?, IfA gallery Berlin, 2018; Hållning— a body-based platform for collective learning, MDT Stockholm, 2021. Her current research focuses on questions of bodily integrity and the unequal politics of protection and security of bodies, see Bodies, un-protected, 2021–22, with Mousonturm, Frankfurt. She wrote and co-edited several books on the topic such as Breathe. Critical Investigations into the Inequalities of Life (due 2023, edited with J. Janša); Bodies of Evidence: Ethics, Aesthetics, and Politics of Movement (2018, with G. Ertem); and Resilient Bodies, Residual Effects: Artistic Articulations of Borders and Collectivity in Lebanon and Palestine (2019). In 2009–14, Sandra acted as the Head of Dramaturgy and Research at Tanzquartier in Vienna. As an educator, she works regularly with DOCH/Stockholm University of the Arts (where she has been Senior Lecturer since 2012), Ashkal Alwan HWP-program (where she was Resident Professor 2015–16).

Silke Panse is Reader in Film, Art and Philosophy at the University for the Creative Arts, UK, where she teaches in the fine art department. Her current research explores relations between the ethical and the material. She has edited the forthcoming collection Ethical Materialities in Art and Moving Images (2021) and has co-edited A Critique of Judgment in Film and Television (2014). She was the co-investigator of the Screening Nature Network, UK (2013-14) and has published in Docalogue (2020), James Benning’s Environments (2018), A Companion to Contemporary Documentary Film (2015), Screening Nature: Cinema beyond the Human (2013), Marx at the Movies (2014), Blind Movies (2009), Rethinking Documentary (2008), Reading CSI: Television under the Microscope (2007) and Third Text (2006). Her chapter translating as ‘War in the Black Box of Peace: The Day of the Sparrow with an Excursion into Political Ecology’ will be published in a collection in German this year.

Dr. Evie Papada is a human geographer based at the University of St Andrews, UK. Her research interests intersect border studies, asylum seeking and the digitialisation of law enforcement. She has previously worked as a policy adviser within international human rights organisations. She is the co-author of ‘New Borders: Hotspots and the European Migration Regime’.

Amin Parsa currently works as a lecturer at the Sociology of Law Department at Lund University (LU). Amin holds a doctoral degree in Public International Law from Faculty of Law at LU. His research interest includes: Politics of international law, law and technology, law and materiality, laws of warfare and law and politics of mobility control.

Jay Pather is a choreographer, multi-media artist, curator, writer and teacher. He is Professor at the University of Cape Town where he directs the Institute for Creative Arts (ICA). He is curator for the Infecting the City Festival; the ICA Live Art Festival, the AfrovibesFestival (The Netherlands); Spier Light Art (Cape Town), co-curated the Africa 2020/21 Season (France); and has curated Live Art for Zeitz MOCAA and the Spielart Festival. 

His artistic work deploys site-specific, interdisciplinary and intercultural strategies to frame postcolonial imaginaries, decolonization and matters of social justice. His artistic work has been written about by academics such as Catherine Cole and Ketu Katrak, who recently published the book Jay Pather, Performance and Spatial Politics in South Africa. Pather’s publications include articles in New Territories: Theatre, Drama, and Performance in Post-apartheid South Africa edited my Marc Meaufort; Rogue Urbanism edited by Edgar Pieterse and Abdul Malik Simone; Performing Cities edited by Nicholas Whybrow, Where Strangers Meet; Routledge Companion to Art in the Public Realm, a book, Transgressions, Live Art in South Africa and for the Theater Journal. He serves as a juror for the TURN Fonds, and Board member of the National Arts Festival of South Africa. He has been appointed Fellow at Queen Mary’s College, University of London and made Chevalier des Arts et des Lettres by the French Ministry of Culture. In 2022 he was awarded a Villa Albertine residency in New York City to create his new work, surface tension.

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Renato Pera (1984) is an artist working with a varied range of media and interested in image, time, space and perception. He also works as academic researcher and professor. Has formal studies in Visual Arts (MFA and BFA) at the University of São Paulo. Presently, is a PhD candidate at the same university (2017-2021) funded by Capes/ CNPQ scholarship. Have benefited from scholarships in the Technological University Dublin (Ireland, 2018) and FAPESP (São Paulo, 2015-2016). The artist has been awarded with local prizes (Ribeirão Preto Art Museum, 2017; Visualidade Nascente, USP, 2016) and has participated in residency programs as Red Bull House of Art (São Paulo, 2011) and Programa de Residencias Artísticas Para Creadores de Iberoamérica y Haití en México (2010). He is currently participating in Museu sem paredes [Museum without walls], a virtual residency at the Espírito Santo Museum of Art. Renato has published and exhibited locally and internationally.

Anja Plonka lives and works between Cologne and Zurich. She studied photography and video at the Dortmund University of Applied Sciences and Arts and the École Nationale Supérieure de la Photographie in Arles as well as scenic research at the Ruhr University Bochum. Anja Plonka worked as artistic assistant for Tobias Zielony, Stracke&Seibt, matthaei&konsorten as well at the theatre colone. Her artistic researches are movements of searching within transdisciplinary fields and questions. Her solo works are based on the body as an archive of traumatic inscriptions and site-specific research. In doing so, she disembodies these inscriptions in a somatic way. In search of a radical, poetic, silent and anarchic space of her own, she seeks the transformations of the body, its inscriptions, images and potentials. In her performances she is interested in an undisciplined body between play, sound, ecstasy and sculpture. Her works have been invited to festivals in Belgium, France, Czech Republic and Switzerland.

Carolina Rito is Professor of Creative Practice Research, at the Research Centre for Arts, Memory and Communities (CAMC), at Coventry University; and leads on the centre’s Critical Practices research strand. She is a researcher and curator whose work explores ‘the curatorial’ as an investigative practice, expanding practice-based research in the fields of curating, visual arts, visual cultures and cultural studies. Rito is the co-editor of Institution as Praxis – New Curatorial Directions for Collaborative Research (Sternberg, 2020), Architectures of Education (e-flux Architecture, 2020), and FABRICATING PUBLICS: the dissemination of culture in the post-truth era (Open Humanities Press, forthcoming). Rito is editor of “On Translations” (2018) and “Critical Pedagogies” (2019) issues (The Contemporary Journal). From 2017 to 2019, she was Head of Public Programmes and Research at Nottingham Contemporary, leading the institution’s research strategy with Nottingham Trent University and University of Nottingham.

Elke Gaugele is Cultural Anthropologist and professor at the Academy of Fine Arts in Vienna. She is project director of the Austrian Center for Fashion Research, was a research fellow at Goldsmiths, University of London, and was awarded a Lise Meitner-Habilitationsstipendium (2005–06) and a Maria Goeppert Mayer chair (2004). Publications include: Fashion and Postcolonial Critique (2019), coed. with Monica Titton; Critical Studies: Kultur- und Sozialtheorie im Kunstfeld (2016), coed. with Jens Kastner.

Mona Schieren teaches Theory and History of Art at University of the Arts, Bremen and is co-director of the Institut Kunst- und Musikwissenschaft. She was guestprofessor at ZHdK Zürich, Università IUAV Venice, Universität Hamburg. Topics of her research include transcultural studies in modern and contemporary art, fiber art, theory and history of body practices and performance studies, collectivity and forms of activism. Her book Transcultural Translation in the Oeuvre of Agnes Martin. The Construction of Asianistic Aesthetics in American Art after 1945, Munich 2016 (German) was recently awarded with the International Publication Prize of the Terra Foundation to be translated in English. She is the editor of RE: BUNKER. Erinnerungskulturen – Analogien – Technoide Mentalitäten, with Katrin v. Maltzahn, (ARGO 2019); Look at me! Celebrity Culture at The Venice Art Biennale, with Andrea Sick (Verlag für Moderne Kunst Nürnberg 2011); She is a member of the DFG research network Entangled Histories of Art and Migration: Forms, Visibilities, Agents.

Aleyda Rocha is a Mexican artist and researcher interested in exploring and evincing the everyday practices of extractivism of data, bodies, experiences intrinsically linked with colonialism and the colonial project. Currently a scientific researcher in the Department of Digital Humanities in the Austrian Academy of Sciences in Vienna and research collaborator in Ars Electronica. Her research negotiates the histories of nonconsensual extractive language terminologies assigned to narratives of “otherness”, such as immigration, which is present in our everyday language, space, environment, and sound.

Katarina Pirak Sikku is an artist and lives in Jåhkåmåhkke, Sápmi. She works with photography, drawing, installation and text-based work, examining how her Sámi family history continues to influence her personal life. Her research project “Bortom tankehimlens mentala sorgerand—studier av mental egenmakt” examines the grief experienced as a consequence of settler colonialism, using artistic research methods that aim to regain her power to define, name and write herself into the landscape.

The artist and philosopher Denise Ferreira da Silva is a full professor at the Institute of Social Justice at University of British Columbia (Vancouver, Canada), adjunct professor at the Monash University School of Art, Architecture, and Design (Melbourne, Australia). She is the author of Toward a Global Idea of Race (University of Minnesota Press, 2007), The Impagavel Divide (Workshop of Political Imagination and Living Commons, 2019) and Unpayable Debt (Stenberg / MIT Press, 2022). Her artwork includes the films Serpent Rain (2016), 4Waters-Deep Implicancy (2018) and Soot Breath / Corpus Infinitum (2020) in collaboration with Arjuna Neuman; and the relational artistic practices Poethical Readings and Sensing Salon, in collaboration with Valentina Desideri. She has performed shows and lectures in the Pompidou Centre (Paris), Whitechapel Gallery (London), MASP (São Paulo), Guggenheim (New York) and MoMa (New York). She also wrote for publications for major art events (Liverpool Biennale, 2017; São Paulo Biennale, 2016, Venice Biennale, 2017 and Documenta 14) and published in art spaces such as Canadian Art, Texte Zur Kunst and E-Flux.

Biography coming soon

Rebecca Simons (FIN 1981) is a multimedia artist, educator and coordinator of photography and art related projects based in The Netherlands. As a visual artist, she finds her inspiration in the tension between memories, truths and myths. She is fascinated by how humans construct reality based on selective memories and chosen truths. Sometimes to beautify, sometimes to survive. Through photography, video, sound and text, she deconstructs and reconstructs (family) history. For an active exchange with the audience and actors Rebecca creates collaborative methods, activities and educational programs around her projects. Between 2009-2016 Rebecca worked as Senior Producer & Interim manager at World Press Photo’s education department. Currently she teaches at Willem de Kooning Academy (Rotterdam), holds several guest lectures and organizes international photography workshops. Rebecca got her MFA in photography at Post-St. Joost, Avans University Breda, 2004 and her MA in Film and Photographic Studies at Leiden University, 2012. https://rebeccasimons.com/

Åsa Sonjasdotter is an artist, researcher, writer and organiser, living by the island of Ven in Sweden and the city of Berlin in Germany. Her work explores knowledge, memory, loss and mourning by engaging in processes for the restoration of nurturing livelihoods and abundant imagination. Sonjasdotter’s recent publication Peace with the Earth, Tracing Agricultural Memory – Refiguring Practice (Archive Books, 2019) enquires overlooked farming histories connected to the staple crops of emmer wheat, potatoes, and turnips. Her ongoing work, Cultivating Abundance, follows the re-cultivation of peasant-bred grains rescued from the deep freezers of the Nordic Gene Bank. Commissioned by the Bergen Assembly, Norway in 2019, Cultivating Abundance has been shown at the Biennale of Warsaw, the Museum of Contemporary Art Antwerp, Württembergischen Kunstvereins, Stuttgart, and further places. Sonjasdotter is a founding member of the Neighbourhood Academy (2015 onward), a bottom-up learning site in Prinzessinnengarten, Berlin. Since 2018, she is a researcher in Artistic Practice at Valand Academy, the University of Gothenburg, Sweden. 

The female experience has always been the focus of my work as an artist. Studies in phenomenology and critical theory address themes related to the human body, the nature of humanity, and its relationship to empathy, ethics, and violence. By choice, my studio practice and the philosophical research are connected, a reciprocal system, a reflective process, where each informs the other. The contemporary body existing as embodied, as both object and subject, can experience varying degrees of violence, oppression and opposition due to historical, societal, cultural, political and gendered structures in place around the world. We experience our bodies from the inside, but we also experience our bodies, as well as the bodies of others as they appear to us, from the outside. As a sculptor I work with melding glass and metal as a hybrid material, a metaphorical skin, within which the female experience can reside as self/other or subject/object. The effects of violence, trauma, pain and memory within and on our own bodies can be visualised in the materiality of glass and metal – warping, fusing, shattering, or expanding depending on forces applied.

Andrea Stokes. England. Video artist, Associate Professor in Fine Art at Kingston University, London. Expertise: Video editing, art installation, Fine Art pedagogy, collective working practices, fundraising. Sailing from the UK to Greenland. www.andreastokes.com https://archive.camdenartscentre.org/archive/d/public-knowledge-placement-does-not-explain-but-cultivates-a-september-gard

Ingibjörg Gísladóttir. Greenland. Air traffic controller at Upernavik Airport(2012-2014), currently working at Narsarsuaq Airport. Story-teller, Greenland tourist operator. Expertise: storytelling, Greenland tourism, air traffic control, Icelandic, English and Danish language skills.

Vera Jensen. Greenland. Administrator, Museum tourist guide, artist and Upernavik resident (2013-2020). Currently living in Ilulissat,Greenland. Expertise: On-line gaming networks, Business skills, Greenlandic, English and Danish language skills.

Frauke Materlik. Germany / Norway. Artist, Landscape Architect and Academic. Expertise: Performance and art installation. Expertise: Research on landscape and infrastructure, writing, German, Norwegian, English language skills. Extended stays and working periods in the Arctic. Member of Performance Art Bergen, Norway: www.performanceartbergen.no www.fraukematerlik.eu

Andrea Stokes. England. Video artist, Associate Professor in Fine Art at Kingston University, London. Expertise: Video editing, art installation, Fine Art pedagogy, collective working practices, fundraising. Sailing from the UK to Greenland. www.andreastokes.com https://archive.camdenartscentre.org/archive/d/public-knowledge-placement-does-not-explain-but-cultivates-a-september-gard

Linda Maria Thompson (1978) is a Swedish-American photographer based in Ångermanland, northern Sweden. Working experimentally with plant-based photographic techniques, archival materials and a variety of documentary practices, she investigates how photography can contribute to a more socially and ecologically equitable world. Her investigations of the visualization of temporal and spatial migration resulted in exhibitions and two monographs, In Place of Memory (Teg Publishing, 2016) and Emigrant Memoir (Self-published, 2019). Linda has a background in photojournalism with a bachelor of arts in Photojournalism from the University of Montana where she also studied Natural Resource Conservation. She holds a Master of Arts in Photojournalism from Mid Sweden University, where she has been a permanent lecturer in photography at the Department of Design since 2016.

Vivi Touloumidi is a contextual artist, researcher and a craftswoman trained in contemporary craft and jewellery. She is lecturer at the Royal Academy of Fine Arts Antwerp and a co-curator of the artistic research seminar METHOD/ART. Vivi was born and studied in Athens, Greece, before continuing her education in Germany and Canada. She holds an MFA in the Crafts from Konstfack University in Stockholm and is currently conducting a PhD in the Arts at ARIA and University Antwerp. Her work has been published and shown internationally. She is a contributing author of Art Jewellery Forum and a member of Culture Commons Quest Office. She is interested in exploring adornment as a multifaceted cultural phenomenon and in its manifestations of the human condition. Her practice investigates the wearable and the body-related object as a medium of agency to carry sociopolitical messages, evoke discourse and position a body in the public realm.

ujjwal kanishka utkarsh is a PhD-in-Practice candidate at the Academy of Fine Arts, Vienna. he makes films and has been working towards a form that emerges out of the observational cinema tradition. This approach for him is not geared towards ethnographical or anthropological intent, but rather at being able to access the sensorial experiential reality. With this approach, he has looked at various themes and in his ongoing work he focuses on looking at protests in India.

Christina Varvia is currently a Research Fellow and formerly the Deputy Director of Forensic Architecture. She trained as an architect at the Architectural Association (AA) and Westminster University, both London, and has taught an MArch Diploma unit at the AA (2018-–20). She was also a member of the Technology Advisory Board for the International Criminal Court (2018). Currently, Christina is a Lecturer at the Centre for Research Architecture at Goldsmiths, University of London, and is pursuing her PhD at Aarhus University, where her research focuses on biopolitics and imaging of the human body. She has received the Novo Nordisk Foundation Mads Øvlisen PhD Scholarship for Practice-based Artistic Research and is also a fellow at Louisiana Museum of Modern Art, Humlebæk, where she co-curated the Forensic Architecture exhibition “Witnesses”. She is a founding member and the chair of the board of Forensis, the Berlin-based association established by Forensic Architecture.

Natalia Aguilar Vásquez is a PhD Candidate at the Department of Spanish and Portuguese Languages and Literatures at New York University (NYU) and a NYU Urban Doctoral Fellow (2020-2021). She obtained her Research Masters in Contemporary Art and World Art Studies from Leiden University, The Netherlands, in 2015 and completed studies in Literature at Universidad de los Andes in Bogota, Colombia in 2013. Her masters’ thesis on the relationship between violence and embodiment in the artworks of Teresa Margolles and Oscar Muñoz has been reedited as a chapter of the critical anthology “Cuerpos ilegales. Sujeto, poder y escritura en América Latina” Nanne Timmer (ed.) Almenara Press, 2018 and in “Latin American Culture and The Limits of the Human” Lucy Bollington and Paul Merchant (eds.) University of Florida Press, 2020.

“The most original compositional voice to emerge from Ireland in the past 20 years” (The Irish Times) and “Wild girl of Darmstadt” (Frankfurter Rundschau), composer and performer Jennifer Walshe was born in Dublin, Ireland. Her music has been commissioned, broadcast and performed all over the world. She has been the recipient of fellowships and prizes from the Foundation for Contemporary Arts, New York, the DAAD Berliner Künstlerprogramm, the Internationales Musikinstitut, Darmstadt and Akademie Schloss Solitude among others. Recent projects include TIME TIME TIME, an opera written in collaboration with the philosopher Timothy Morton, and THE SITE OF AN INVESTIGATION, a 30-minute epic for Walshe’s voice and orchestra, commissioned by the National Symphony Orchestra of Ireland. THE SITE has been performed by Walshe and the NSO, the BBC Scottish Symphony Orchestra and also the Lithuanian State Symphony Orchestra. A Late Anthology of Early Music Vol. 1: Ancient to Renaissance, her third solo album, was released on Tetbind in 2020. The album uses AI to rework canonical works from early Western music history. A Late Anthology was chosen as an album of the year in The Irish Times, The Wire and The Quietus. Walshe is currently a professor at the Hochschule für Musik und Darstellende Kunst, Stuttgart. Her work was recently profiled by Alex Ross in The New Yorker.

Dr Joanne ‘Bob’ Whalley (she/her) is a Lecturer in Dance at University of Roehampton UK, where she teaches postgraduate dance and choreography students. In 2015 she completed a BSc in Acupuncture, and she specialises in palliative care. Her PhD students explore grief narratives, empathy and affective exchange, concepts of with-ness and witness. Her 2017 book ‘Between Us: Audiences, Affect and the In-between’ celebrates spaces which cause an affecting, and bodies affected. Bob completed the first joint practice as research PhD to be undertaken within a UK arts discipline in 2004 with Lee Miller, and they bring performance, installations, performance text and objects to international audiences.

Elena Wolay is a music journalist, lecturer, and curator for concerts and exhibitions. Since 2011, she has been running the platform ‘Jazz Är Farligt’ (‘Jazz Is Dangerous’) and has been described as one of the driving forces behind Sweden’s alternative music scene. Currently, Wolay works as a music and literature coordinator for the City of Malmö. Her recent curator projects include ‘Sun Ra’ at Mellanrummet, Malmö Konsthall (2021), Åke Hodell, Malmö Konsthall (2022), and Åke Hodell’s ‘220 Volt Buddha’ at Kalmar Art Museum (2022), as well as participating as an artist in the group exhibition ‘File under freedom’ at Bergen Kunsthall in 2022 and serving as a curator for the music program at Uppsala Art Museum (2022-2023). Wolay’s activities and practice involve in-depth research into music that touches upon the unexpected, raw, and interdisciplinary.

Monique Yim (b.1984, Hong Kong) is an artist, educator and curator who received MA from Central Saint Martins, London, UK. She engages mainly in performance, mixed media, participatory art and public/community art. Her works concern social, cultural, gender and minorities issues. She has participated in about 200 exhibitions, festivals and artist-in-residence programmes in over 30 cities across Asia, Europe and America. Her LGBTQ equality themed work “Queer Series No.10: Ungrounded Tango” was awarded the “Visual Art Performance in Public Space” international prize at Kassak Centre (Europe, 2018). She was selected by Feminist Art Conference (Toronto, 2020) as artist-in-residence, and Body and Freedom Festival (the only government permitted public nudity art festival in the world) (Zurich, 2018) as participating artist and lecturer, both as the first and only invited Hong Kong artist. Her important curatorial projects including “Performance Art Marathon” in the West Kowloon Cultural District, Hong Kong. She has given workshops and lectures at various universities and organizations, e.g. Brno University of Technology, Uppsala Konsert & Kongress, Central Saint Martins, Goethe Institut, The University of Hong Kong, The Chinese University of Hong Kong.

Charlotte Østergaard is a Danish visual artist/designer, teacher and researcher (PhD student at Malmö Theatre Academy, Faculty of Fine and Performing Arts at Lund University) in between the fields of costume, textile, fashion and performing art. Charlotte has designed costumes for more than 65 performances –several of which have received theatre awards –for among others Danish Dance Theatre, Skånes Dance Theatre and Rambert Dance Company. Charlotte has received several grants from the Danish Art Foundation, her artworks has been exhibited at curated exhibitions, for example, at ‘PQ2019’ and ‘Innovative Costume of the 21st Century’, Moscow (2019) and is represented in the collections of Danish Design Museum and The National Gallery of Denmark. Her connecting-costumed performance-project ‘AweAre’ was nominated for the biennale prize at ‘The Biennale for Craft & Design’, Denmark (2019) and received an Excellence Award at ‘From Lausanne To Beijing – 11th International Fiber Art Biennale’, China (2020).

Marc Johnson

Japanese soprano Hitomi Ohki started to study piano at the age of 5 and singing at the age of 16. She studied music at Tokyo Gakugei University and graduated in 2008. Afterwards, she moved to Italy and studied vocal technique with Monica Benvenuti in Florence. In 2011 she was selected as contemporary singer of Mito Contest- Masterclass organized by the Maggio Musica Fiorentino Formazione. In 2012 she performed “C.A.N.T.O-Visioni dal Mito” directed by G. Cauteruccio at Teatro Studio Krypton in Florence. In 2012/2013 she was selected as Young Artists project “TU-Teatro Urbano” given by Alta formazione artistica della Regione Toscana and performed “Crash Troades” at Teatro Studio Krypton di Scandicci, Giardino Chiuso di San Gimignano, Teatro dell’Aglio di Piombino. In 2014 she got a degree in singing at the Conservatorio di Muisca L. Cherubini di Firenze where she studied with Leonardo De Lisi. In 2015 she took masterclass with Montserrat Caballé in Spain.