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).
Dr. Anthony Downey is Professor of Visual Culture in the Middle East and North Africa within the Faculty of Arts, Design and Media at Birmingham City University. Recent and upcoming publications include Don’t Shrink Me to the Size of a Bullet: The Works of Hiwa K (Walther König Books, 2017), Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East (Sternberg Press, 2016), Art and Politics Now (Thames and Hudson, 2014). He is the series editor for Visual Culture in the Middle East (Sternberg Press) and the editor-in-chief of Ibraaz (www.ibraaz.org). He is currently researching Zones of Indistinction: Contemporary Visual Culture and the Cultural Logic of Late-Modernity (Sternberg Press, 2018).
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 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 has the author and editor of numerous catalogues, articles and book chapters in the fields of both East European art history and the environmental humanities. As a visiting lecturer at Central European University he teaches a course on the Visual Culture of the Anthropocene for the Environmental Arts and Humanities Initiative. Recent curatorial projects include the Experimental Reading Room (2014-7), Danube River School (2013-5), and the exhibition Walking without Footprints (2016).
Ros Gray is a senior lecturer in Fine Art, Critical Studies at Goldsmiths University in 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.