Faculty

Elena Agudio, Marie-Luise Angerer, Defne Ayas, Heidi Ballet, Franco “Bifo” Berardi, Nicolas Bourriaud, Yann Moulier Boutang, Mathieu Copeland, Jodi Dean, Arne De Boever, Nikola Dietrich, Julieta Gonzalez, Krist Gruijthuijsen, Robby Herbst, Helen Hester, Yuk Hui, Isaac Julien, Brandon LaBelle, Dan Levenson, Deborah Ligorio, Isabell Lorey, Jens Maier-Rothe, Antonia Majaca, Lambros Malafouris, Augustin Maurs, Ari Benjamin Meyers, Hans Ulrich Obrist, Matteo Pasquinelli, Peter Pelbart, Gerald Raunig, Ludwig Seyfarth, Jennifer Teets, Tiziana Terranova, Ben Vickers, Anuradha Vikram, Joanna Warsza, Markus Weisbeck, and Ming Wong

Marie-Luise Angerer is professor of Media Studies at the Department for Art and Media, University of Potsdam. Before that she was professor of Media and Cultural Studies at the Academy of Media Arts Cologne. Visiting fellow and guest professor in the US, UK, Canada and Australia. Member of the European Network How Matter comes to Matter (2014-2018), and of the Research Network Affective and Psychotechnology Studies (DFG 2015-2017) The focus of her research is on media technology, affect and neuroscientific reformulations of desire, sexuality, and the body. Her most recent publications include Desire After Affect (2014), Timing of Affect (with Bernd Bösel and Michaela Ott, 2014), Ecology of Affect. Intensive Milieus and Contingent Encounters (2017, http://meson.press/books/ecology-of-affect/)

Elena Agudio is a Berlin based art historian and curator. Her research is focused on the sharing and exchange of knowledge and skills across disciplines and cultures. She studied Art History at the University of Venice – Ca’ Foscari and in 2010 she received her PhD in Art and Design at the University of Palermo. From 2005 to 2010 she lectured at the University Iulm of Milano and at the University of Architecture of Palermo. Since 2007 she is writing for and coordinating the direction of the Italian art magazine Art e Dossier.

She is artistic director of the non profit association AoN_a platform for Neuroscience and Art, a project in collaboration with the Medical University of Charité and The School of Mind and Brain of the Humboldt University encouraging both a dialogue and lasting cooperations between contemporary art and the cognitive sciences, for which she has been curating projects at the Deutsche Guggenheim (Berlin) and the Library of the Peggy Guggenheim Collection (Venice).
http://www.association-of-neuroesthetics.org/

Since 2013 she is artistic co-director of SAVVY Contemporary, a non profit Berlin based art space founded and directed by Bonaventure Soh Bejeng Ndikung, where she is curating and co-curating exhibition projects, discursive programmes and series, among which – currently – Speaking Feminisms dedicated to an exploration of current feminist practices and alliances, That, Around Which The Universe Revolves investigating ryhthmanalysis and the interrelations of space and time, memory, architecture and urban space, How Does The World Breathe Now, a film screening series critically reflecting on our now and the role of art in the society, and SAVVY Funk, a radio programme and exhibition for Documenta 14. http://www.savvy-contemporary.com

Defne Ayas is a curator and publisher in the field of contemporary visual art and its institutions. She is currently the Director of Witte de With Center for Contemporary Art in Rotterdam, where she oversees an exhibition program devoted to artists, writers, and curators from across the globe. Since 2012, she has commissioned and (co-) curated numerous long-term projects and exhibi¬tions including Bit Rot by Douglas Coupland and the three-part Art In The Age of… a three-part series (with focus on energy and raw materials, asymmetric warfare and planetary computation, 2015). Ayas has worked on a number of biennial projects as: curator of the Pavilion of Turkey in the 56th International Art Exhibition, Venice Biennale; co-curator of the 6th Moscow Biennale; co-cura¬tor of the 11th Baltic Triennale; city curator for the 9th Shanghai Biennale and curator-at-large at PERFORMA in New York and Spring in Hong Kong. In 2013, Ayas launched WDWReview.org as Witte de With’s esteemed online arts & culture journal, together with Adam Kleinman as its Chief Editor.

Heidi Ballet is an independent curator based in Berlin and Brussels. She will be curating the 2018 Beaufort Triennial at the Belgian coast and together with Milena Hoegsberg she is currently curating the 2017 Lofoten International Art Festival (LIAF) on the Lofoten Islands, Norway that opens in September 2017. In 2016 she curated the Satellite exhibition series Our Ocean, Your Horizon at Jeu de Paume Paris and CAPC Bordeaux as well as the group exhibition The Morality Reflex at at Contemporary Art Centre (CAC) in Vilnius. Between 2013 and 2015 she worked as a research curator for the exhibition After Year Zero presented at Haus der Kulturen der Welt Berlin (2013) and the Warsaw Museum of Modern Art (2015).

Franco “Bifo” Berardi was born in Bologna, Italy in 1949, Franco Berardi Bifo is a writer, media-theorist, and media-activist. As a young militant he took part in the experience of Potere operaio in the years 1967-19073, then he founded the magazine A/traverso (1975–81) and was part of the staff of Radio Alice, the first free pirate radio station in Italy (1976–78). Involved in the political movement of Autonomia in Italy during the 1970s, he fled to Paris, where he worked with Félix Guattari in the field of schizoanalysis. He has been involved in many media-projects, like Telestreet, and Recombinant.org. Bifo published the books The Uprising (1912) After the future (2011) The Soul at Work (2010), Felix (2001), Cibernauti (1994), Mutazione e Cyberpunk (1993). He contributed to the magazines Semiotext(e), Chimères, Metropoli, and Musica 80 and is currently collaborating to e-flux.journal. Coordinator of the European School for Social Imagination (SCEPSI) he has been teaching at Ashkal Alwan in Beirouth, PEI-Macba in Barcelona, Accademia di Brera in Milano, and has been lecturing in social centers and Universities worldwide. His last book, published in December 2015 by Semiotexte is And Phenomenology of the End.

French art critic, theoretician and curator, Nicolas Bourriaud (born 1965) was co-founder and co-director of the Palais de Tokyo in Paris (2000-2006), and Gulbenkian Curator for Contemporary Art at Tate Britain. He was the director of the Ecole Nationale Superieure des Beaux-Arts in Paris from 2011 to 2015. He is the artistic director of La Panacée, artistic center of Montpellier.

Yann Moulier Boutang (Born in Paris in June 1949) Former Alumni of The Ecole Normale Supérieure (1970-1976) has studies philosophy, Japanese and sociology and economy. He used to teach at the ENS, and Institute of Political Sciences of Paris(1981-2004). Since 2005 he is Professor of Economics at the University of technology of Compiègne near Paris, (political economy, intellectual property rights, Master User Design he teaches also in the Master Innovation by Design (ENSCI, Paris).

Since 2010 he teaches interculturality to Chinese and French engineers at UTSEUS (Sino-Européen niversity of Technology in Shanghai University. In Shanghai he participates to the activity of the Offshore platforms for French Students of the National Schools of Arts run by Paul Devautour (School of Arts and Design at Nancy).

He has been teaching at SUNY Binghamton, at UFRJ (Federal University of Rio de Janeiro and IBICT), and in several schools of Arts and Design (ESADSE at ST Etienne, Strate Ecole de Design, National Superior School of Architecture Paris-Malaquais. He has been invited for conferences and key notes lectures in many countries. He was the initiator in France of the Italian operaismo by translating Tronti, Negri, Sergio Bologna. He used to run the year Quarterly Babylone Christian Bourgeois Publisher (1981-1991). It was one of the founders and co-manages the French Quarterly Journal Multitudes. (66 issues already published since mars 2000: http://www.multitudes.net or https://www.cairn.info/revue-multitudes.htm.

Multitudes has been ranked B review the European Science Foundation and receives funding from CNL, French State Department, Region Ile de France, Minister of Culture (DAP, CNEAI). He is member of the editorial board of the Review Traces (published in English, Japanese, Korean & Chinese) He his also member of the editorial board of Subjectivity: http://www.palgrave-journals.com/sub/index.html; Member for lifetime of the BIEN Basic Income, http://www.etes.ucl.ac.be/BIENbackup/lifemembers.htm.

Mathieu Copeland (b. 1977, lives in London) has been developing a practice seeking to subvert the traditional role of exhibitions and to renew our perceptions of these. Amongst many others, he co-curated the exhibition ‘VOIDS, A Retrospective’ at the Centre Pompidou—Paris and the Kunsthalle—Bern, and edited the anthology ‘VOIDS’. He curated ‘A Choreographed Exhibition’ at the Kunsthalle—St Gallen & La Ferme du Buisson, ‘Soundtrack for an Exhibition’, ‘Alan Vega’ and ‘Gustav Metzger’ at the Musee d’Art Contemporain—Lyon. He initiated and curated the series ‘A Spoken Word Exhibitions’, ‘Reprise’ and ‘the Exhibitions to Hear Read’. A professor at the HEAD – Geneva, he lectures in numerous art school and universities throughout the world. Invited curator at the Jeu de Paume, Paris in 2012-2013, and guest-curator at Le Plateau, FRAC Ile-de-France Paris, 2014-2015, he recently edited ‘Choreographing Exhibitions’, and realized ‘The exhibition of a film’ – an exhibition as a feature film for cinemas.

Arne De Boever teaches American Studies in the School of Critical Studies at the California Institute of the Arts, where he also directs the MA Aesthetics and Politics program. He is the author of States of Exception in the Contemporary Novel (2012) Narrative Care (2013), and Plastic Sovereignties (2016), and a co-editor of Gilbert Simondon (2012) and The Psychopathologies of Cognitive Capitalism (2013). He edits Parrhesia and the Critical Theory/Philosophy section of the Los Angeles Review of Books and is a member of the boundary 2 collective. His new book, Finance Fictions, is forthcoming with Fordham University Press.

Jodi Dean is the Donald R. Harter ’39 Chair of Humanities and Social Sciences at Hobart and William Smith Colleges in Geneva, NY. She held the position of Erasmus Professor of the Humanities at Erasmus University in the Netherlands. She was also Birkbeck Writer in Residence at Birkbeck College of Law in London. She is the author or editor of twelve books, including Democracy and Other Neoliberal Fantasies (2009), Blog Theory (2010), The Communist Horizon (2012), and Crowds and Party (2016).

Julieta González is Artistic Director at Museo Jumex. Previously she was, Adjunct Curator of Modern and Contemporary Art at the Museu de Arte de São Paulo, Senior Curator at the Museo Tamayo Arte Contemporáneo, Mexico City, and Adjunct Curator at the Bronx Museum of the Arts, in New York. Between 2009 and 2012 she was Associate Curator of Latin American Art at Tate Modern. She was Curator of Contemporary Art at Museo Alejandro Otero (1999-2001) and Museo de Bellas Artes de Caracas from 2001-2003. She was co-curator of the 2nd Trienal Poligráfica de San Juan, Latinoamérica y el Caribe with Jens Hoffmann and Beatriz Santiago, under the artistic direction of Adriano Pedrosa. Gonzalez has organized over 40 exhibitions including A mão do povo Brasileiro and Playgrounds (with Adriano Pedrosa, Tomás Toledo and Luiza Proença), at MASP; Stephen Willats: Man from the 21st Century (2015), Juan Downey: A Communications Utopia (2013). Rita McBride: Public Transaction (2013), and Jac Leirner: Functions of a Variable (2014) at Museo Tamayo, Mexico City; Farsites at Insite San Diego/Tijuana (2005) (adjunct curator with curator Adriano Pedrosa); Etnografía: modo de empleo at Museo de Bellas Artes de Caracas (2003), among others, and has published essays in exhibition catalogues and periodical publications, including Afterall, The Exhibitionist, Flash Art, and Parkett. She holds an MA in Cultural Studies from Goldsmiths, University of London, and was a Helena Rubinstein Curatorial Fellow at the Whitney Independent Study Program (1997-1998), she studied architecture at the Universidad Simón Bolívar, Caracas and the École d’Architecture Paris-Villemin, in Paris.

Krist Gruijthuijsen (born in 1980, NL) is curator, and director of KW Institute for Contemporary Art since July 2016. He has been artistic director of the Grazer Kunstverein in Graz from 2012 until 2016 and is course director of the MA fine arts department at the Sandberg Instituut in Amsterdam since 2011. He is one of the co-founding directors of Kunstverein in Amsterdam and has organized a numerous amount of exhibitions and projects over the past decade, including Manifesta 7 (Trentino-South Tyrol,IT), Platform Garanti Contemporary Art Center (Istanbul), Artists Space (New York, US), Museum of Contemporary Art (Belgrade, RS), Swiss Institute (New York, US), Galeria Vermelho (São Paulo, BR), Stedelijk Museum (Amsterdam), Van Abbemuseum (Eindhoven, NL), Arnolfini (Bristol, UK), Project Arts Centre (Dublin, IE), Utah Museum of Contemporary Art (Salt Lake City, US), and Institute of Modern Art (Brisbane, AU).

Gruijthuijsen has produced, edited and published extensively in numerous collaborations with JRP|Ringier Kunstverlag, Sternberg Press, Mousse Publishing Printed Matter, Inc., Verlag der Buchhandlung Walther König and Kunstverein Publishing. Recent publications are amongst others MIERLE LADERMAN UKELES – SEVEN WORK BALLETS (Sternberg Press, 2015), VINCENT FECTEAU (Sternberg Press, 2015), WRITINGS AND CONVERSATIONS BY DOUG ASHFORD (Mousse Publishing, 2014), LISA OPPENHEIM: WORKS 2003–2013 (Sternberg Press, 2014), THE ENCYCLOPEDIA OF FICTIONAL ARTISTS AND THE ADDITION (JRP|Ringier, 2010), NICHOLAS MANGAN: LIMITS TO GROWTH (Sternberg Press, 2016), THE ANTI-MUSEUM – An anthology by Mathieu Copeland and Balthasar Lorvay (Fri Art & Koenig Books, London, 2017), and several others under the umbrella of Kunstverein Publishing.

Robby Herbst is an inter-disciplinary artist and organizer. His writing and artworks engages with contemporary and historic experiments in socio-political aesthetics. In 2016 he completed the public project New New Games a series of tournaments and encounters held in California’s Bay Area with the support of Southern Exposure and the Headlands Center For The Arts. He is co-founder and former editor of the Journal of Aesthetics & Protest, as well as the instigator of the geographically sited critical-landscape projects of the Llano Del Rio Collective. With artist Elana Mann he co-organizes the Chats About Change series. He has been awarded grants from the Graue Foundation, The Andy Warhol Foundation for artwriting, the Durfee Foundation, the Rema Hort Mann Foundation and the Danish Arts Foundation. He has been an artist in residence at the Headlands Center For the Arts as well as Provisions Library. He is a columnist for KCET TV’s award winning program Artbound and has contributed essays to many art catalogs, books, and magazines. He has lectured internationally on radical aesthetics, action, and creative practices. He’s taught New Genres Art at USC, Interdisciplinary Art at Goddard College, and curation at Otis College of Art and California State University at Los Angeles. He lives in Los Angeles with his partner Kimberly and daughter Juniper.

Helen Hester is Associate Professor of Media and Communication at the University of West London. Her research interests include technofeminism, social reproduction, and post-work politics, and she is a member of the international feminist working group Laboria Cuboniks. Her books include Beyond Explicit: Pornography and the Displacement of Sex (SUNY Press, 2014), Xenofeminism (Polity, 2018), and After Work: The Politics of Free Time (Verso, 2018, with Nick Srnicek).’

Yuk Hui teaches at the institute of philosophy of Leuphana University Lüneburg, where he is researcher of the DFG project Techno-ecologies of Participation. He is also a visiting scholar of the China Academy of Art, Hangzhou. Previous to that, he was postdoctoral researcher at the Centre for Digital Cultures of Leuphana Univeristy and Institute for Research and Innovation of the Centre Georges Pompidou. He has published research articles on philosophy of technologies in periodicals such as Metaphilosophy, Research in Phenomenology, Parrhesia, Angelaki, Cahiers Simondon, Implications Philosophiques, Jahrbuch Technikphilosophie, among others. He is co-editor of 30 Years after Les Immatériaux: Art, Science and Theory (Meson Press, 2015), author of two monographs, On the Existence of Digital Objects (University of Minnesota Press, 2016) prefaced by Bernard Stiegler and The Question Concerning Technology in China. An Essay in Cosmotechnics (Urbanomic, 2016).

Filmmaker and installation artist, Isaac Julien was born in 1960 in London, where he currently lives and works. His multi-screen film installations and photographs incorporate different artistic disciplines to create a poetic and unique visual language. His 1989 documentary-drama exploring author Langston Hughes and the Harlem Renaissance titled Looking for Langston garnered Julien a cult following while his 1991 debut feature Young Soul Rebels won the Semaine de la Critique prize at the Cannes Film Festival.

Having recently worked on conserving and restoring Looking for Langston images from his extensive archive, Julien exhibited of photographic works at Victoria Miro Gallery, London (2017), Jessica Silverman Gallery, San Francisco (2016) and Ron Mandos Gallery, Amsterdam (2016) with screenings of the film in its original 16mm print to follow. He has also had one-person exhibitions of work at: the Institute of Contemporary Arts, Boston (2011); L’Atelier Hermès, Seoul (2011); Kunstnernes Hus. Oslo (2011); The Bass Museum, Miami (2010); Helsinki Festival, Kunsthalle Helsinki (2010); Museum Brandhorst, Munich (2008); Kestnergesellschart, Hannover, (2006) Museum of Modern Art, Dublin (2005); Centre Pompidou, Paris (2005); and Moderna Museet, Stockholm (2005). His latest work, Stones Against Diamonds, was shown in 2015 at the Venice Biennale, Art Basel and Art Basel Miami Beach.

Julien first participated in the Venice Biennale in 2009 and then returned to present Das Kapital Oratorio in the 56th edition, curated by Okwui Enwezor in 2015, as well as Western Union: small boats at the inaugural Diaspora Pavilion at the 57th edition in 2017. His work has also been exhibited in the the 7th Gwangju Biennial, South Korea (2008); Prospect 1, New Orleans (2008); and Performa 07, New York.

Julien’s work is held in collections that include: Tate, London; the Museum of Modern Art, New York; Centre Pompidou, Paris; the Solomon R. Guggenheim Museum, New York; and the Hirshhorn Museum and Sculpture Garden, Washington DC. In 2016, the Towner Art Gallery Collection (Eastbourne, UK) acquired Ten Thousand Waves as part of the Art Fund’s moving image programme.

Ten Thousand Waves, a globally acclaimed multiple screen installation work, premiered at the 2010 Sydney Biennale and has gone on to be exhibited extensively – recently at Platform-L in Seoul (2017) and Fondation Louis Vuitton in Paris (2016) as well as the Museum of Modern Art, New York in 2013, with whom he also published a comprehensive monographic survey of his life and work, titled ‘Riot’.

Julien has taught extensively, holding posts such as Chair of Global Art at University of Arts London (2014-2016), Professor of Media Art at StaatlicheHoscschule fur Gestaltung, Karlsruhe, Germany (2008 – 2016) and faculty member at the Whitney Museum of American Art’s Independent Study Program, New York, USA (2006-2013). He is the recipient of the 83rd James Robert Brudner Memorial Prize and lectured at Yale University (2016). Most recently he received the Charles Wollaston Award (2017), for most distinguished work at the Royal Academy Summer Exhibition, and was awarded the title Commander of the Most Excellent Order of the British Empire (CBE) in the Queen’s birthday honours, 2017.

Based in Berlin, Brandon LaBelle is an artist, writer and theorist working with questions of social life and cultural agency, using sound, performance, text and sited constructions. He develops and presents artistic projects and performances within a range of international contexts, often working in public. This leads to interventions and performative installations, archival work, and micro-actions aimed at the sphere of the (un)common and the unlikely. He is also an active lecturer working with institutions around the world addressing questions of auditory culture, sonic and spatial arts, and the voice. Current research projects focus on voicing and choreographies of the mouth, sonic materiality and auditory knowledge, and the aesthetics and politics of invisibility.

His work has been presented at the South London Gallery (2016), Tel Aviv University Art Gallery (2015), Marrakech Biennial (parallel project), 2014, General Public, Berlin (2013), The Whitney Museum, NY (2012), Image Music Text, London (2011), Sonic Acts, Amsterdam (2010), A/V Festival, Newcastle (2008, 2010), Tramway, Glasgow (2010), Museums Quartier/Tonspur, Vienna (2009), 7th Bienal do Mercosul, Porto Allegro (2009), Center for Cultural Decontamination, Belgrade (2009), Casa Vecina, Mexico City (2008), Fear of the Known, Cape Town (2008), Netherlands Media Art Institute, Amsterdam (2003, 2007), Ybakatu Gallery, Curitiba, Brazil (2003, 2006, 2009), Singuhr Gallery, Berlin (2004), and ICC, Tokyo (2000).

Also a prolific writer, he is the author of Lexicon of the Mouth: Poetics and Politics of Voice and the Oral Imaginary (2014), Diary of an Imaginary Egyptian (2012), Acoustic Territories: Sound Culture and Everyday Life (2010), and Background Noise: Perspectives on Sound Art (2015; 2006). Through his work with Errant Bodies Press he has co-edited the anthologies Site of Sound: Of Architecture and the Ear Volumes 1 & 2 (1999, 2011), Writing Aloud: The Sonics of Language (2001), Surface Tension: Problematics of Site (2003) and Radio Territories (2007), along with a series of monographs (Critical Ear series) on sound and media artists.

He has various audio releases on international experimental music labels, and regularly produces works for radio, notably for documenta radio (2017), Kunstradio in Vienna (1999, 2001, 2007, 2009) and Deutschland Radio (2009). He received a Masters degree from Cal Arts, Los Angeles in 1998, and completed his PhD at the London Consortium in 2005. Following his doctoral work he undertook post-doctoral research at the University of Copenhagen from 2006 to 2009, in Modern Culture and Sound Studies. In 2008-09 he worked as Guest Professor at the Copenhagen Art Academy and at the Free University in Berlin, holding seminars on acoustic territories, spatial practice and the male voice. He lives in Berlin and since 2011 works as Professor in new media at the Bergen Academy of Art and Design, Norway.

Deeply rooted in an overarching conceptual theme, the paintings of Los-Angeles based artist Dan Levenson connect to both art historical tradition and fantasy. “My work illustrates the story of the fictional State Art Academy, Zurich (SKZ), located in an imaginary Switzerland in a generic modernist past. The objects I make, student painting storage lockers, desks, chairs, drawing horses, aprons, etc., are artifacts rescued from the ruins of the school. When I paint, I follow the school’s strict formalist pedagogy, geometrically dividing metrically sized canvases to create black and white abstract compositions, later adding color. I expand on the story through performance, installation and video.”

Dan Levenson’s work has been exhibited at Susanne Vielmetter Los Angeles Projects, Culver City, CA, White Columns, New York, NY, Praz-Delavallade, Independent, Brussels, LAXART, Los Angeles, CA, Vox Populi, Philadelphia, PA, PARTICIPANT INC, New York, NY, EFA Gallery, New York, NY, Peloton, Sydney, Australia, and OfficeOps, Brooklyn, NY.

Deborah Ligorio is an artist based in Berlin. Her current research brings together technological, ecological and feminist thinking. She was awarded the 15th Quadriennale di Roma Young Art Prize (2008), and the Special Prize GAI – Italre Italian Studies for PS1 MoMA (2004). International residencies include: MAK Schindler, Los Angeles (2003), OMI International Arts Center, New York (1998). Her works have been shown and performed in events, group and solo exhibitions at institutions including: Savvy Contemporary, Berlin (2017), Neue Nationalgalerie, Berlin (2014), ICA, London (2013), Hangar Bicocca, Milan (2009), Manifesta7 (2008), Fondazione Sandretto Re Rebaudengo, Turin (2007). She published Survival Kits, Sternberg Press (2013)
and she is the founder of the online platforms [The Eponym] (2014) and DadaAda (2015).

Isabell Lorey, professor for transnational gender politics at the Institute for Political Science at the University of Kassel (https://www.uni-kassel.de/fb05/fachgruppen/politikwissenschaft/geschlechterpolitik.html); political theorist at the European Institute for Progressive Cultural Policies (eipcp) in Berlin and member of the editorial board of the publishing platform transversal texts (transversal.at). Her recent book is State of Insecurity. Government of the Precarious, trans. by Aileen Derieg, London/New York: Verso, 2015. See more here: http://transversal.at/bio/lorey.

Antonia Majaca is an art historian, curator and writer based in Berlin and Graz. She is the visiting professor and research leader at the IZK Institute for Contemporary Art at the Graz University of Technology, where her three-year research and publishing project ‘The Incomputable’, funded by FWF – Austrian National Science Fund, is developed through an international platform involving Graz University of Technology, Goldsmiths University of London and the Department of Human and Social Sciences at the University of Naples. Currently she is also one of the research curators for the multi-year project ‘Kanon Fragen’ at HKW – Haus der Kulturen der Welt, Berlin, initiated by Anselm Franke. Her ongoing long-term research “Feminist Takes”, involving a wide network of contributors – artists, art historian, film theorists, filmmakers, psychoanalysts and philosophers, has so far been presented at G-MK, Zagreb, Nottingham Contemporary, Nottingham and Tranzitdisplay, Prague. Recently curated conferences include ‘Knowledge Forms and Forming Knowledge – Limits and Horizons of Transdisciplinary Art-Based Research’ at the Halle für Kunst & Medien, Graz and ‘Memorial For(u)ms – Histories of Possibility’ for DAAD at the HAU – Hebel am Ufer, Berlin.

Lambros Malafouris PhD (Cambridge, Darwin College) is Johnson Research and Teaching Fellow in Creativity, Cognition and Material Culture at Keble College, and the Institute of Archaeology, University of Oxford. He was Balzan Research Fellow in Cognitive Archaeology at the McDonald Institute, University of Cambridge between 2005-2008. His research interests lie broadly in the archaeology of mind and the philosophy of material culture. His publications include How Things Shape the Mind: A Theory of Material Engagement (MIT Press, 2013), The Cognitive Life of Things: Recasting the boundaries of the mind (with Colin Renfrew, 2010), Material Agency: Towards a non- anthropocentric approach (with Carl Knappett, 2008) and The Sapient Mind: Archaeology meets neuroscience (with Colin Renfrew and Chris Frith, 2008).

Augustin Maurs is a French musician and composer. His work is situation related and often brings the musical experience outside the musical field. It explores different forms of music making and listening as an implication in today’s social and cultural environment. Maurs is the initiator of the Berlin based project platform written-not-written.

Ari Benjamin Meyers (b. 1972, USA) lives and works in Berlin. In his work, Meyers, who trained as a composer and conductor at The Juilliard School, Yale University, and Peabody Institute, explores structures and processes that redefine the performative, social, and ephemeral nature of music. He has composed numerous works for the stage among them three operas; his chamber opera Nico. Sphinx aus Eis was commissioned by the Semperoper Dresden. Past solo exhibitions and projects include Black Thoughts, Esther Schipper, Berlin (2013); Chamber Music (Vestibule), Berlinische Galerie (2013-2014); Just in Time, Just in Sequence, This is Not Detroit Festival, Schauspielhaus Bochum (2014); Beating Time, Martin-Gropius-Bau Berlin (2015); Memories of the Future, Museum of Modern Art Warsaw (2016); The Name of This Band is The Art, RaebervonStenglin, Zurich (2016); Who’s Afraid of Sol La Ti?, Hamburger Bahnhof, Berlin (2016); Elevator Music, Trafo Center for Contemporary Art, Stettin (2016). He is the founder of the Kunsthalle for Music, an undertaking realized in cooperation with Witte de With Center for Contemporary Art (Rotterdam) and Spring Workshop (Hong Kong) as well as numerous artists. Besides this long-term project upcoming exhibitions in 2017 include An exposition, not an exhibition, Spring Workshop, Hong Kong; Solo for Ayumi, Esther Schipper, Berlin; Symphony 80 (with the Bavarian Radio Symphony Orchestra), Lenbachhaus, Munich; and participation in the group show A Crack in Everything, Musée d’Art Contemporain de Montréal. Meyers has worked and performed with various bands including The Residents, Einstürzende Neubauten, and Chicks on Speed.

Selected collaborations include Ravel, Ravel, French Pavilion, 55th Venice Biennale (2013) with Anri Sala; Morphy, Fondation Louis Vuitton (2014); T.451, Tensta Konsthall (2012); K.62/K.85, Performa ’09, New York (2009) all with Dominique Gonzalez-Foerster. Collaborations with Tino Sehgal include Symphony X (installation version), KW Berlin and K21 Dusseldorf (2014) This Variation, Documenta 13 Kassel (2012) and Untitled, a new ballet that premiered at the Paris Opera in September 2016. The book “Music on Display” chronicling his work and practice has been recently released by the publisher Walther König.

Warren Neidich is professor of art at the Weissensee Kunsthochschule Berlin and founder and director of the Saas-Fee Summer Institute of Art. His Psycopathologies of Cognitive Capitalism Part 3, Archive Books and Neuromacht, Merver Verlag will be released this year. Recent solo exhibitions include The Color of Politics at the Kunstverein am Rosa-Luxemburg-Platz, Berlin, 2017, The Statisticon, Miami Contemporary Projects, Bogota, 2016,The Artists Library, LAXART, Los Angeles, 2016, and The Palinopsic Field, LACE, Los Angeles, 2016.

Matteo Pasquinelli (MA, Bologna; PhD, London) is Professor in Media Theory at the University of Arts and Design, Karlsruhe. He recently edited the anthology Alleys of Your Mind: Augmented Intelligence and Its Traumas (Meson Press) among other books. His research focuses the intersection of cognitive sciences, knowledge economy and machine intelligence.

Peter Pál Pelbart is a philosopher and an essayist. Born in Hungary, he studied in France and lives in Brazil. He is a professor at PUC University in São Paulo. He translated works of Deleuze into Portuguese. He wrote some books mainly about madness, time, subjectivity and biopolitics, in Portuguese or Spanish. He published in English Cartography of Exhaustion: Nihilism Inside Out, by Univocal. He is copublisher of n-1publications. He is part of the Ueinzz Theater Company, a schizoscenic project.

Gerald Raunig is a philosopher, art theoretician; works at the eipcp (European Institute for Progressive Cultural Policies) and at the Zürcher Hochschule der Künste; member of the editorial boards of the multilingual publishing platform transversal texts and the journal Kamion. His books have been translated into English, Serbian, Spanish, Slovenian, Russian, Italian, Dutch, and Turkish.
Recent books in English: Art and Revolution. Transversal Activism in the Long Twentieth Century, translated by Aileen Derieg, New York/Los Angeles: Semiotext(e)/MIT Press 2007; Art and Contemporary Critical Practice. Reinventing Institutional Critique, London: mayflybooks 2009 (Ed., with Gene Ray); A Thousand Machines, translated by Aileen Derieg, New York/Los Angeles: Semiotext(e)/MIT Press 2010; Critique of Creativity, London: mayflybooks 2011 (Ed., with Gene Ray and Ulf Wuggenig); Factories of Knowledge, Industries of Creativity, translated by Aileen Derieg, New York/Los Angeles: Semiotext(e)/MIT Press 2013; DIVIDUUM. Machinic Capitalism and Molecular Revolution, Vol.1, translated by Aileen Derieg, New York/Los Angeles: Semiotext(e)/MIT Press 2016.

Barry Schwabsky is the art critic for The Nation and co-editor of international reviews for Artforum. He has published several books of art criticism, including Words for Art: Criticism, History, Theory, Practice (Sternberg Press, 2013) and The Perpetual Guest: Art in the Unfinished Present (Verso, 2016), as well as of poetry—most recently, Trembling Hand Equilibrium (Black Square Editions, 2015). Forthcoming this fall is a new collection of criticism, Heretics of Language (Black Square Editions).

Jennifer Teets is a contemporary art curator, writer, researcher and performer born in Houston, Texas, 1978, living and working from Paris. She co-hosts (w/ Margarida Mendes) The World in Which We Occur – a live event series taking place over the telephone in front of an audience, and formulated around questions addressed by speakers across the world. TWWWO is loosely inspired by, and set in the legacy of hybrids that have emerged out of artist James Lee Byars’ 1969 performance work World Question Centre. To date, TWWWO has hosted sessions on the Anthropocene, pharmakons (the body and the earth as a remedy and a poison), molecular colonialism in the reign of microorganisms, grief and climate change, states of reserve and the legality of invisible regimes, water politics, earth metabolisms, and the underground. For more info please see: www.twwwo.org

Since 2014 she carries out an inquiry (ethnographic, materialist) on geophagy and clays with forgotten origins titled Elusive Earths(w/Lorenzo Cirrincione). Recent iterations held at Parallel, Oaxaca in April 2016: http://www.paralleloaxaca.com/elusive-earths-iii.html. Upcoming fieldwork in Lemnos, Greece, and Guatemala (2017). A lecture will be held on Elusive Earths in the context of Otobong Nkanga’s work for documenta14 on June 16, 2017 in Athens, Greece. She has written extensively on art and curating in international art magazines and other publications and frequently lectures on curating and artistic research.

Tiziana Terranova is Associate Professor of Cultural Studies and New Media in the Department of Human and Social Sciences, University of Naples ‘L’Orientale’. She is the author of Network Culture: Politics for the Information Age (Pluto Press, 2004) and of the forthcoming Hypersocial: Digital Networks between Markets and Common(s)) (Minnesota University Press). She is a member of the Centre for Postcolonial and Gender Studies at L’Orientale, where she co-founded the Technoculture Research Unit (http://www.technoculture.it/); and of the free university network Euronomade (www.euronomade.info). She has just completed a term at Northwestern University (US) as Fulbright Distinguished Lecturer Chair.

Ben Vickers is a curator, writer, explorer, technologist and luddite. He is CTO at the Serpentine Galleries in London and an initiator of the open-source monastic order unMonastery.

Anuradha Vikram is a writer, curator, and educator based in Los Angeles. She is Artistic Director at 18th Street Arts Center in Santa Monica, California, and a Senior Lecturer at Otis College of Art and Design. Her research combines media studies, theory of globalization, and critical race discourse with early modern, modern, and contemporary art history. Recent publications include “‘Naked in the Sight of the Object’: Masking, Masquerade, and Black Identity” (X-TRA , vol. 18 no. 4, Summer 2016), “Becoming Human: Nam June Paik’s Futuristic Compassion” (X-TRA , vol. 18 no. 1, Fall 2015), “A Brief and Incomplete History of Art and Technology Ventures in the Bay Area 1980-2010” (Afterimage, vol. 41, no. 6, Summer 2014), and “Sonya Rapoport: A Woman’s Place is in the Studio” (Sonya Rapoport: Pairings of Polarities. Berkeley:Heyday,2012).She has contributed essays to Leonardo, KCET Artbound, Artillery, Hyperallergic, Daily Serving,and OPEN SPACE,the blog of the San Francisco Museum of Modern Art. She is a Senior Lecturer at Otis College of Art and Design, and a member of the Board of Directors of the College Art Association, where she serves on the Conference committee and chairs the Museums committee.

Previous positions include Curator of the Worth Ryder Art Gallery and Coordinator of the Visiting Artist Lecture Series for UC Berkeley’s Department of Art Practice; Director at Aicon Gallery Palo Alto; Program Director at Headlands Center for the Arts; Associate Producer of Zero One San Jose; Exhibitions Director at Richmond Art Center; and Studio Manager of the Claes Oldenburg and Coosje van Bruggen studio in New York. She has guest curated exhibitions for LA’s Craft and Folk Art Museum, Mills College Art Museum, Shulamit Nazarian Gallery, and the DeYoung Artist’s Studio. Vikram holds an MA in Curatorial Practice from California College of the Arts and a BS in Studio Art from New York University.

Markus Weisbeck founded the Studio “Surface” in 1997 in Frankfurt and Berlin. His projects include Gwanju Folly II, Korea; Museum of Modern Art, Frankfurt; The Forsythe Company; Zumtobel AG; Jewish Museum Frankfurt; Städelschule Architecture Class; the MoMA NYC; the Venice Biennale (German Pavillion 2007, 2009); Manifesta 7; Sternberg Press; the German Design Council; Luma Ares and over 100 Publications for various Artists and Institutions. Weisbeck is the founder of the Weimar based Institute „Space for Visual Research“. He became an official member of the Alliance Graphique Internationale in 2013 and teaches as Professor for Grafik-Design at the Bauhaus University in Weimar.

Ming Wong works with cinema and popular culture to consider how one’s identity is constructed, reproduced and circulated. Through imperfect translations and re-enactments of classic world cinema in which the artist plays all of the characters, Wong’s videos, photographs, installations, and performances uncover the slippages that haunt ideas of “authenticity” and “originality.”

Wong represented Singapore at the 53rd Venice Biennale in 2009 with the solo presentation Life of Imitation, which was awarded a special mention. He has had solo exhibitions at leading institutions worldwide, including Ullens Centre for Contemporary Art, Beijing; Shiseido Gallery, Tokyo; and Neuer Berliner Kunstverein. Wong has been included in numerous international biennials, including Performa, New York, 2011; Sydney Biennial (2016 & 2010); Shanghai Biennale, 2014; Lyon Biennale, 2013.