Khadija von Zinnenburg Carroll
Khadija von Zinnenburg Carroll is an artist, historian and Professorial Chair of Global Art at the University of Birmingham. Khadija is the author of the books Art in the Time of Colony; Botanical Drift: Plant Protagonists of the Invasive Herbarium; and The Importance of Being Anachronistic. An expert in global contemporary art and colonialism as well as the history of museums and collecting, she wrote her M.A. and Ph.D. at Harvard University about Aboriginal Art. She is currently working on a book entitled Fragile Crown: Empire, Collection, Restoration. Her installations and texts have been exhibited at the Venice Biennale, Marrakech Biennale, and she has done performances and plays at the Institute of Contemporary Art London, Pesta Bonka Festival Indonesia, and Konzerttheatre Bern.
T J Demos is Professor in the Department of the History of Art and Visual Culture, University of California, Santa Cruz, and Founder and Director of its Center for Creative Ecologies. He writes widely on the intersection of contemporary art, global politics, and ecology and is the author of numerous books, including: Against the Anthropocene: Visual Culture and Environment Today (Sternberg Press, 2017); Decolonizing Nature: Contemporary Art and the Politics of Ecology (Sternberg Press, 2016); The Migrant Image: The Art and Politics of Documentary During Global Crisis (Duke University Press, 2013) – winner of the College Art Association’s 2014 Frank Jewett Mather Award – and Return to the Postcolony: Spectres of Colonialism in Contemporary Art (Sternberg Press, 2013).
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 50 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 Professor of Visual Culture in the Middle East and North Africa at Birmingham City University. He is currently involved in several research projects that explore the politics of cultural production in the Middle East and Global South, digital media, education and transnational cultural practices. Anthony is also on the editorial board of Digital War and is the editor-in-chief of Ibraaz. He is the series editor for Research/Practice (Sternberg Press, 2019), and the Research Associate for Human Activities. Upcoming publications include Unbearable States: Cultural Practices, Political Activism, and Human Rights in a Post-digital Age (forthcoming, 2021) and Displacement Activities: Contemporary Art, the Refugee Condition, and the Alibi of Engagement (Sternberg Press 2020). Recent publications include Critique in Practice: Renzo Martens' Episode III: Enjoy Poverty (Sternberg Press, 2019); Don’t Shrink Me to the Size of a Bullet: The Works of Hiwa K (Buchhandlung Walther König, 2017); and Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East (Sternberg Press, 2016). In 2020, he will launch a programme of activities and publications to mark the 10th anniversary of the Arab Spring.
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 have also been 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.
Reuben Fowkes is an art historian, curator and co-director of the Post-socialist Art Centre (PACT) at the Institute of Advanced Studies, UCL. He is co-founder of the Translocal Institute for Contemporary Art, a centre for transnational research into East European art and ecology that operates across the disciplinary boundaries of art history, contemporary art and ecological thought. He jointly heads the Getty Foundation supported programme Confrontations: Sessions in East European Art History (2018–2020), is co-author of the forthcoming Thames & Hudson World of Art series book on Central and Eastern European Art Since 1950 and guest editor of a special issue of Third Text: ‘Actually Existing Artworlds of Socialism’. Recent curatorial projects include the Experimental Reading Room, the Danube River School, the conference on Vegetal Mediations, as well as the exhibition Walking without Footprints.
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.
Richard William Hill
Richard William Hill lives and works in Vancouver, where he is Canada Research Chair in Indigenous Studies at Emily Carr University of Art and Design. He is an art historian and critic whose interests include (but are not confined to) modern and contemporary art that addresses Indigenous issues.
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 PARSE Professor of Art and Head of Research at the Valand Academy, University of Gothenburg. 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.
Manuela Ribeiro Sanches
Manuela Ribeiro Sanches taught at the Faculty of Arts and Humanities at the University of Lisbon from 1981 to 2016, where she also coordinated the Centre for Comparative Studies during the last three years. Having obtained her PhD with a dissertation on the traveller and revolutionary Georg Forster, her interest in travel literature and related topics, such as the epistemologies that sustain the subjective processes of perceiving and narrating the described objects, led her to broaden her interests to the field of the history of anthropology, which she articulated with a cultural studies approach from a postcolonial perspective. Having widely published on these issues, more recently she became interested in the transnational processes that also marked anti-colonial movements. Her research interests also include African film, questions of migration and racism in Europe from a compared perspective.
Basia Sliwinska is an art historian and theorist working as a 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.