Khadija von Zinnenburg Carroll
Khadija von Zinnenburg Carroll is an Austrian-Australian artist and historian based between Vienna and London. She is the Chair of Global Art at the University of Birmingham and has a PhD from Harvard University. She is the author of Art in the Time of Colony (Ashgate 2014/Routledge 2016), and editor or co-author of The Importance of Being Anachronistic: Contemporary Aboriginal Art and Museum Reparations (Discipline/Third Text, 2016), Botanical Drift: Protagonists of the Invasive Herbarium (Sternberg Press, 2017), and Bordered Lives: Immigration Detention Archive (Sternberg Press, 2020), with a forthcoming monograph on repatriation. Her installations, films and performances have been shown internationally, including at the Venice, Marrakech and Sharjah Biennales, Taxispalais, ICA London, Extracity, HKW and Royal Museums Greenwich.
Glyn Davis is Professor of Film Studies at the University of St Andrews, Fife, Scotland; he is primarily a historian and theorist of queer visual culture. From 2016 to 2019, he was the Project Leader of ‘Cruising the 70s: Unearthing Pre-HIV/AIDS Queer Sexual Cultures’, a pan-European queer history project funded by HERA and the European Commission. His writing has appeared in journals including Aniki, Cinema Journal, GLQ, MIRAJ and Screen. His forthcoming publications include Queer Print in Europe (Bloomsbury 2021, co-edited with Laura Guy), and The Richard Dyer Reader (Bloomsbury 2022, co-edited with Jaap Kooijman).
T J Demos
T J Demos is Patricia and Rowland Rebele Endowed Chair in the Department of the History of Art and Visual Culture, University of California, Santa Cruz, and Director of its Center for Creative Ecologies. He writes widely on the intersection of visual culture, radical politics and political ecology – particularly where it opposes racial and colonial capitalism – and is the author of several books, including Beyond the World’s End: Arts of Living at the Crossing (Duke University Press, 2020), Against the Anthropocene: Visual Culture and Environment Today (Sternberg Press, 2017) and Decolonizing Nature: Contemporary Art and the Politics of Ecology (Sternberg Press, 2016). Demos curated ‘Rights of Nature’ at Nottingham Contemporary (2015); ‘Specters: A Cinema of Haunting’, at Madrid’s Museo Reina Sofia (2014); and ‘Beyond the World’s End’ at the Museum of Art and History, Santa Cruz (2019). In Spring 2020, he was a Getty Research Institute Fellow, and is directing the Mellon-funded Sawyer Seminar research project ‘Beyond the End of the World’ during 2019–21. He is working on a new book on radical futurisms.
Angela Dimitrakaki is a writer and Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh. She is the author of over fifty articles and book chapters on contemporary art and her books include Gender, ArtWork and the Global Imperative: A Materialist Feminist Critique (Manchester 2013), Art and Globalisation: From the Postmodern Sign to the Biopolitical Arena (Hestia 2013, in Greek) and ECONOMY: Art, Production and the Subject in the Twenty-First Century (2015, co-edited with Kirsten Lloyd).
Anthony Downey is a writer, academic and editor. He is Professor of Visual Culture in the Middle East and North Africa at Birmingham City University in the UK, and the Cultural and Commissioning Lead on a four-year AHRC funded research project focusing on cultural practices, education and digital methodologies in Lebanon, the Occupied Palestinian Territories, and Jordan (2020–2024). He is an editor at the Journal of Digital War and the series editor for Research/Practice (Sternberg Press, 2019–ongoing). Recent and upcoming publications include Unbearable States: Digital Media, Cultural Activism and Human Rights (forthcoming, 2022); Topologies of Air (2021); Heba Y Amin: The General’s Stork (2020); Michael Rakowitz: I'm good at love, I'm good at hate, it's in between I freeze (2019); and Critique in Practice: Renzo Martens’ Episode III (Enjoy Poverty) (2019). In 2020, he curated ‘Heba Y Amin: When I see the future, I close my eyes’ at the Mosaic Rooms, London.
Natasha Eaton teaches eighteenth- and nineteenth-century British art and the visual culture of South Asia at University College London. In 2015 she was awarded a Leverhulme Trust Research Fellowship which will enable her to undertaken research on her new book project The Conditional Image. She recently received a travel grant from the Paul Mellon Center which she will use in order to be able to travel to India and Mauritius in relation to this book. She and Alice Correia were also awarded Arts Council Funding for their conference To Draw The Line at the Bluecoat Gallery, Liverpool, November 2017.
Kodwo Eshun teaches on the MA in Contemporary Art Theory in the Department of Visual Cultures at Goldsmiths College, University of London.
Denise Ferreira da Silva
Denise Ferreira da Silva is an academic and practising artist, and currently the Director of the Institute for Gender, Race, Sexuality and Social Justice at the University of British Columbia. The author of Toward a Global Idea of Race (University of Minnesota Press, 2007), A Dívida Impagavel (Oficina da Imaginaçāo Política and Living Commons, 2019), Unpayable Debt (Sternberg/MIT Press, 2021), and co-editor (with Paula Chakravartty) of Race, Empire, and the Crisis of the Subprime (Johns Hopkins University Press, 2013), her articles have appeared in the journals Social Text; Theory, Culture & Society; Social Identities; PhiloSOPHIA; Griffith Law Review; Theory & Event; and The Black Scholar, among others. Artistic works include the films Serpent Rain (2016) and 4Waters-Deep Implicancy (2018), in collaboration with Arjuna Neuman; and the relational art practices Poethical Readings and Sensing Salon, in collaboration with Valentina Desideri. She has exhibited and lectured at venues such as the Pompidou Centre (Paris), Whitechapel Gallery (London), MASP (Sāo Paulo), and the Guggenheim and MoMA in New York. She has written for publications for the biennales of Liverpool (2017), São Paulo (2016) and Venice (2017), and Documenta 14, and published in art journals and platforms such as Canadian Art, Texte Zur Kunst and E-Flux.
Reuben Fowkes is an art historian, curator and co-director of the Post-socialist Art Centre (PACT) at the Institute of Advanced Studies, UCL, and co-founder of the Translocal Institute for Contemporary Art. His publications include Art and Climate Change (Thames & Hudson, forthcoming 2022), the edited volume Ilona Németh: Eastern Sugar (Sternberg Press, 2021), Central and Eastern European Art Since 1950 (Thames & Hudson, 2020), and the special issue Third Text 153: ‘Actually Existing Worlds of Socialism’ (2018). Curatorial collaborations include the Anthropocene Reading Room, the Danube River School, the group show ‘Walking without Footprints’, and a trilogy of exhibitions on the revolutions of 1956, 1968 and 1989. He jointly heads the Getty Foundation supported research project ‘Confrontations: Sessions in East European Art History’.
Ros Gray is a senior lecturer in Fine Art Critical Studies at Goldsmiths, University of London. She is currently working on a monograph tentatively titled Cinemas of the Mozambican Revolution.
Isaac Marrero-Guillamón is a lecturer in Anthropology at Goldsmiths, University of London. His work is concerned with the entanglements between politics and aesthetics – more specifically, with the ways in which activism, artistic practice and cultural artefacts may contribute to the production of new conditions of possibility for collectives. His research has experimented with a range of visual and collaborative methodologies, including film, photography, public events, textual objects, and exhibitions.
Andrea Phillips is BALTIC Professor and Director of the BxNU Research Institute at Northumbria University and the BALTIC Centre for Contemporary Art, Newcastle, UK. Andrea lectures and writes about the economic and social construction of publics within contemporary art, the manipulation of forms of participation and the potential of forms of political, architectural and social reorganisation within artistic and curatorial culture.
Basia Sliwinska is an art historian and theorist and Senior Lecturer at the University of the Arts, London, UK. Her research is engaged with feminist visual activism(s) and transnational and intersectional figurations in contemporary women’s art practice. Basia is on the research team of the Visual Activism and Sexual Diversity in Vietnam project, funded by an AHRC/GCRF Research Networking grant. She is a member of the College Art Association’s Committee on Women in the Arts, and of the Steering Group for the PARADOX European Fine Art Forum. Her upcoming publications include two edited books focused on feminist visual activism in transnational perspectives and female agency in contemporary art.