Narda Alvarado lives and works in Bolivia. She has a B.A. in Architecture and Construction, was a resident at the Rijksakademie van Beeldende Kunsten of Amsterdam, and received a Master’s degree of Science in Art, Culture and Technology from the Massachusetts Institute of Technology. She imparts training workshops on artistic research and art thought for young professionals and students. Alvarado exhibited in numerous solo and collective shows in Bolivia, Latin America and Europe, and participated in the following international biennials: La Habana (2019, 2006), Santiago de Chile (2017), Venice (2011, 2007), Fin del Mundo (2009), Sao Paulo (2006), Busan (2006), Moscow (2007), and Mercosur (2005), among others. She has done artists’ residencies and expeditions in Santiago de Chile, Belgrade, Athens, Potosí, Buenos Aires, Santa Cruz de la Sierra, Jerusalem and Oxford. At present, she works on personal research projects and studies philosophy at the San Andrés State University, in her native La Paz since 2009.
Milena Bonilla’s research-based practice is currently invested in epistemological colonialism and the different ways it affects organisms, language and social structures. By identifying patterns, gaps and silences within specific historical narratives, the artist draws tensions between predetermined political templates and uses of cognition. These conceptual and perceptual exercises appear weaved across the manifold material manifestations of her work. Milena Bonilla is a 2021 fellow and guest alumni resident (together with Ana María Gómez López) at the Institute of Social History (IISH) and the Rijksakademie in Amsterdam, as well as a resident artist at ZK/U Berlin.
Season Butler is a writer, artist, dramaturg and lecturer in Performance Studies and Creative Writing. Her art practice explores notions of authorship, authority and version control; the opportunities and traps of hindsight and hope; and what it means to look forward to an increasingly wily future. Her recent artwork has appeared in the Baltic Centre, Tate Exchange and Latvian Centre for Contemporary Art. Her debut novel, Cygnet, was published in spring 2019 and won the Writer’s Guild 2020 Award for Best First Novel.
Irene de Craen
Irene de Craen is the editor-in-chief and founding director of Errant Journal. Previously, she founded the research platform Undercurrents, which aims to question the relation between historic and present-day instances of movement such as colonialism, trade and migration, as well as the infrastructure and significance of mobility within the cultural field. Between 2014 and 2018 De Craen was the artistic director of Hotel Maria Kapel, an artist-in-residence, exhibition space and cinema for contemporary visual art in Hoorn, and in 2011 and 2012 she was co-organizer and curator at FATFORM, an interdisciplinary and experimental art platform in the Southeast of Amsterdam. As researcher and board member, De Craen was part of Platform BK (Platform for Visual Arts) between 2013 and 2019, which helped establish the guideline for artists’ fees in the Netherlands in 2017. Additionally, she has contributed to many national and international publications and magazines, among others Metropolis M, and Frieze.
Radha D’Souza is a Professor of International Law, Development and Conflict Studies at the University of Westminster. She practiced as a barrister in the High Court of Bombay and taught at the Universities of Auckland and Waikato in New Zealand before coming to University of Westminster. D’Souza is a writer, critic and commentator. She is a social justice activist and has worked with labour movements and democratic rights movements in her home country of India as an organizer and activist lawyer. With visual artist Jonas Staal she founded the Court for Intergenerational Climate Crimes (2021-ongoing). D’Souza has a BA in Philosophy from Elphinstone College (University of Mumbai) and a LLB from New Law College (University of Mumbai), and she completed her PhD in Geography and Law at the University of Auckland. She is the author of What’s Wrong with Rights? (Pluto Press, 2018) and Interstate Disputes Over Krishna Waters (Orient Longman, 2006) and works with the Campaign Against Criminalising Communities (CAMPACC) in the UK.
Shona Mei Findlay
Shona Mei Findlay is Curator for Asia Programs at KADIST, San Francisco where she most recently curated Jeamin Cha, Troubleshooting Mind I,II,III (2020) and Pio Abad, Kiss the Hand You Cannot Bite (2019). She has co-curated programmes at De Appel and the Stedelijk Museum, both in Amsterdam and has held positions at the NTU Centre for Contemporary Art, Singapore (2014–2016) and for No Country: Contemporary Art for South and Southeast Asia, UBS Guggenheim Global Art Initiative MAP exhibition (2014). She was a participant of the De Appel Curatorial Programme (2016–17).
Inas Halabi is an artist working predominantly with film. Her practice is concerned with how social and political forms of power are manifested and the impact that overlooked or suppressed histories have on contemporary life. She holds an MFA from Goldsmiths College in London and recently completed a two-year residency at De Ateliers in Amsterdam. In 2016, she was awarded first prize for the A.M. Qattan Foundation’s Young Artist of the Year. Recent exhibitions and screenings include the Stedelijk Museum, Amsterdam (2020); the Mosaic Rooms, London (2019); TENT, Rotterdam (2019); De Ateliers, Amsterdam (2019); Silent Green Betonhalle, Berlin (2019); Smith College Museum of Art, USA (2018); Alte Fabrik, Rapperswil (2018); Al-Ma’mal Foundation for Contemporary Art, Jerusalem (2017); OFF-Biennale Budapest (2017), and the 13th Sharjah Biennial’s Offsite project, Shifting Ground (2017). She lives and works between Palestine and the Netherlands.
Nicholas Hildyard is a founder and director of The Corner House, a UK research and advocacy group focusing on human rights, the environment, and development. Hildyard has written extensively on environmental and global justice issues. His publications include Licensed Larceny: Infrastructure, Financial Extraction and the Global South (Manchester University Press, 2016), Corridors as Factories: Supply Chains, Logistics (Corner House, 2019) and Labour, Energy, Work and Finance (Corner House, 2014).
Sophie Hoyle is an artist and writer whose practice explores an intersectional approach to post-colonial, queer, feminist, critical psychiatry and disability issues. Their work looks at the relation of the personal to (and as) political, individual and collective anxieties, and how alliances can be formed where different kinds of inequality and marginalisation intersect. They relate personal experiences of being queer, non-binary and part of the MENA (Middle East and North Africa) diaspora to wider forms of structural violence. From lived experience of psychiatric conditions and trauma, or PTSD, they began to explore the overlapping histories of biomedical technologies and those used in state and military surveillance and control.
Rosa Elena Jacanamijoy Jacanamijoy
Rosa Elena Jacanamijoy Jacanamijoy is an indigenous leader of the Inga people with a degree in Linguistics from the Universidad Nacional de Colombia. Her work focuses on communal processes and the cultural strengthening of traditional medicine, as well as the revitalization of the indigenous language and ancestral art. She has also worked extensively on the formulation of the Indigenous Public Policy within the context of the city, particularly with the structuring of the Comité Distrital de Mujeres Indígenas (Indigenous Women District’s Committee) in Bogotá. Additionally, she has worked as a representative of indigenous women with the ONIC – Organización Nacional Indígena de Colombia (National Indigenous Organization of Colombia) and was the founder of the Muchivioy school in the Putumayo region. She has been invited to speak internationally on subjects like Primal Law and the preservation of culture. Jacanamijoy Jacanamijoy works as a healer using traditional medicine in the Tambo Sinchi Uaira in Bogota, Colombia.
Remy Jungerman is a Suriname-born Dutch artist who lives and works in Amsterdam. He attended the Academy for Higher Arts and Cultural Studies in Paramaribo, Suriname before moving to Amsterdam where he studied at the Gerrit Rietveld Academy. Born and raised in Suriname, he is a descendant, on his mother’s side, of the Surinamese Maroons who escaped enslavement on Dutch plantations to establish self-governed communities in the Surinamese rain forest. Within their rich culture, many West-African influences are preserved including the prominent use of abstract geometrical patterns. Placing fragments of Maroon textiles, as well other materials found in the African diaspora such as the kaolin clay used in many African religious traditions or the nails featured in West African Nkisi Nkondi power sculpture, in direct contact with materials and imagery drawn from more “established” art traditions, Jungerman presents a peripheral vision that can enrich and inform our perspective on art history.
Rajkamal Kahlon is a Berlin-based American artist whose work draws on legacies of colonialism, often using the material culture, documentary material, and aesthetics of Western colonial archives. Kahlon is a past participant of the Whitney ISP and Skowhegan. She received her MFA from CCA. Her work has been exhibited widely in museums, foundations and biennials in North America, Europe, the Middle East and Asia including the 2012 Taipei Biennial, Meeting Points 7, MHKA, HKW, MUAC, Weltmuseum Wien, Museum of Modern Art Warsaw, Apex Art and e-flux. Kahlon received the prestigious 2019 Villa Romana Prize and the 2020 Berlin Artist Grant.
A.K. Kaiza is a Ugandan journalist and writer who has been an art and literary critic for over two decades and has variously been animator and creator of a children’s television programme, editor of an arts magazine as well as a literary editor. He is currently working in the field of arts and culture development and research in Uganda and Eastern Africa.
Lara Khaldi is an independent curator and critic based in Jerusalem. Khaldi lectures in media studies at Al-Quds Bard College in Jerusalem and previously taught art history and theory at Palestine’s Birzeit University. A former assistant programme director at the Sharjah Art Foundation and director of the Khalil Sakakini Cultural Centre in Ramallah, Khaldi went on to complete the Curatorial Programme at De Appel, Amsterdam in 2014. Her recent projects include Shifting Ground, an off-site project for the Sharjah Biennial (2017) in Ramallah, a solo exhibition by Noor Abuarafeh at the Al Ma’mal Art Foundation in Jerusalem, Unweaving Narratives (2018) at the Palestinian Museum, Birzeit, and Overtones (2019) at the Goethe Institute, Ramallah. Khaldi has also contributed to a number of publications such as Time has fallen asleep in the afternoon sunshine (Mousse Publishing, 2019) and Of(f) Our Times: Curatorial Anachronics (Sternberg Press, 2019), as well as edited a number of publications, most recently In aching agony and longing I wait for you at the Spring of Thieves: Jumana Emil Abboud (blackdog press, 2018).
Yazan Khalili lives and works in and out of Palestine. His work has been exhibited in several major exhibitions, including: New Photography (2018) at MoMA, Jerusalem Lives (2017) at the Palestinian Museum, and the Shanghai Biennial (2016). He received a degree in architecture from Birzeit University in 2003, his MA degree from the Centre for Research Architecture at Goldsmith’s College in 2010, and in 2015 his MFA degree at Sandberg Institute, Amsterdam. He was one of the founding members of Zan Design Studio (2005-2010) and the Radio AlHara online community radio (2020). In 2015, he co-organized Walter Benjamin in Palestine workshop and symposium, and has been the director of Khalil Sakakini Cultural Centre between 2015 until end of 2019. Currently, Khalili is the co-chair of the Photography department of the MFA program at Bard College, NY and an artist in residence at the Rijksakademie, Amsterdam.
Inga Lāce is currently C-MAP Central and Eastern Europe Fellow at MoMA, New York. She has been curator at the Latvian Centre for Contemporary Art since 2012 and curator of the Latvian Pavilion at the Venice Biennale 2019 with the artist Daiga Grantina (co-curated with Valentinas Klimašauskas). She has also been co-curator of the 7th-10th editions of the contemporary art festival SURVIVAL KIT (with Jonatan Habib Engqvist, 2017, and Angels Miralda and Solvita Krese, 2018-19, Riga) and has curated exhibitions at Latvian National Museum of Art, Villa Vassilieff, Paris, James Gallery at CUNY, New York, Muzeum Sztuki, Łódź, and Framer Framed, Amsterdam. Together with Jussi Koitela she is working on the project Performing the Fringe (presented at Konsthall C, Stockholm, upcoming at Pori Art Museum). Lāce was also curatorial fellow at de Appel, Amsterdam (2015-2016) organizing a programme and editing a publication on the intersection of art and ecology titled Instituting Ecologies.
Rasigan Maharajh is an activist scholar who is primarily based in South Africa. Having occupied leadership roles in both mass democratic and a national liberation movement, he served as national coordinator of the science and technology transition programme of the first post-apartheid government. After his deployment as Head of Policy at the Council for Scientific and Industrial Research, he is the founding Chief Director of the Institute for Economic Research on Innovation of Tshwane University of Technology since 2004. From 2014, he has also served as the Node Head of the Department of Science and Technology and National Research Foundation Centre of Excellence in Scientometrics and Science, Technology and Innovation Policy. He is a Professor Extraordinary of the Centre for Research on Evaluation, Science and Technology of Stellenbosch University from 2015. He holds a PhD in Political Economy and Research Policy from Lund University in Sweden.
Ivet Reyes Maturano
Ivet Reyes Maturano grew up in Mexico City. She graduated as an anthropologist from the National School for Anthropology and History of Mexico and received her MA in Cultural Analysis from the University of Amsterdam. She is currently a PhD candidate in anthropology at McGill University and a member of the grassroots organization Articulación Yucatán (https://articulacionyucatan.wordpress.com/). She has also collaborated in art projects tackling social questions in the Netherlands, the US and Mexico. Her work addresses collective memory, political ecology, rural change, and environmental justice.
Vera Mey is a PhD candidate at SOAS, University of London. Her research looks at regional tendencies of Southeast Asian art during the Cold War eras in Cambodia, Indonesia and Singapore. Before this, she worked as a contemporary art curator at ST PAUL St Gallery, AUT University, New Zealand and the NTU Centre for Contemporary Art Singapore, among others. More recent independent work includes co-curating SUNSHOWER: Contemporary art from Southeast Asia 1980s to now (2017) at the Mori Art Museum and National Art Centre Tokyo, the largest survey of Southeast Asian artists to date. She is a co-founder of the peer-reviewed journal SOUTHEAST OF NOW: Directions in Contemporary and Modern Art in Asia (NUS Press).
Rasheedah Phillips, Esq. is a Philadelphia-based public interest attorney, mother, interdisciplinary artist, and cultural producer whose writing has appeared in Keywords for Radicals: The Contested Vocabulary of Late Capitalist Struggle, Villanova Law Review, Temple Political and Civil Right Journal, The Funambulist, and more. She is the founder of The AfroFuturist Affair, a founding member of Metropolarity Queer Speculative Fiction Collective, co-founder of Black Quantum Futurism, and co-creator of the award-winning Community Futures Lab/Community Futurisms project. As a social justice advocate, Phillips has been recognized with the 2017 National Housing Law Project Housing Justice Award, the 2017 City & State Pennsylvania 40 Under 40 Rising Star Award, the 2018 Temple University Black Law Student Association Alumni Award, and 2019 Barristers Association of Philadelphia Outstanding Young Attorney Award. She is a 2016 graduate of Shriver Center’s Racial Justice Institute, and 2018 Atlantic Fellow for Racial Equity. As part of BQF Collective and as a solo artist, Phillips has exhibited, presented, been in residence, and performed at Institute of Contemporary Art London, the Metropolitan Museum of Art, Philadelphia Museum of Art, Serpentine Gallery, and more.
Aldo Ramos (born 1986, Mexico) lives and works in Amsterdam. Determined to strengthen the protection of life, his work has emerged in the interdisciplinary space of art, ecology and social practice. After leaving behind his life and profession as a lawyer and relocating to the Netherlands in 2010, Ramos has established a connection with other people who share similar experiences, different stories but the same struggle. People who aspire to construct alternatives to the current oppressive system. Since their first encounter in Colombia 2017, Ramos works together with Arhuacan and other communities of Abya Yala who are considered living seeds of hope in other possible worlds. These communities have barely been acknowledged but have never been absent. Instead they are firmly in defense of life in its diversity – resisting the oppression, massive destruction and genocide by the current system. Ramos is using art as a platform to promote a pluriversal rather than universal reality.
Guided by the Amazonian sabedores and medicine people, Barbara Santos’ work focuses on making visible socio-environmental transformation processes by using the conjunction between art and technology. Santos is a visual artist and independent researcher with a large experience of working in the Vaupés region’s jungles in Colombia, and she is the author of the book La curación como tecnología (Healing as Technology). Her long-term projects are weaved collectively and are focused on the aesthetic and ontological dissonances that encounters between complex cultures can bring. Barbara Santos is doing a PhD in Amazonian Studies at the Universidad Nacional de Colombia.
Mark M. Smith
Mark M. Smith is a Carolina Distinguished Professor of History at the University of South Carolina. His research focuses on sensory history – a vibrant area of historical inquiry dedicated to examining the roles played by olfaction, hearing, touch, and taste (as well as vision) in shaping the past. He is the author of several books, including Mastered by the Clock: Time, Slavery, and Freedom in the American South (winner of the Organization of American Historians’ 1997 Avery O. Craven Award and South Carolina Historical Society’s Book of the Year), How Race Is Made: Slavery, Segregation, and the Senses (University of North Carolina Press, 2006; a 2007 Choice Outstanding Academic Title), Sensing the Past: Seeing, Hearing, Smelling, Tasting, and Touching in History (University of California Press, 2008). Smith is currently working on three projects, one involving reconstruction and foreign affairs; one on the future of sensory history, and another on the history of mixed martial arts and the UFC.
Jonas Staal is a visual artist working on the relation between art, propaganda, and democracy. He founded the artistic and political organization New World Summit (2012–ongoing). Together with Florian Malzacher he co-directs Training for the Future (2018-ongoing), and with Jan Fermon he initiated the collective action lawsuit Collectivize Facebook (2020-ongoing). With writer and lawyer Radha D’Souza he founded the Court for Intergenerational Climate Crimes (2021-ongoing) and with Laure Prouvost he is co-administrator of the Obscure Union. Exhibition-projects include Art of the Stateless State (Moderna Galerija, Ljubljana, 2015), After Europe (State of Concept, Athens, 2016), The Scottish-European Parliament (CCA, Glasgow, 2018) and Museum as Parliament (Van Abbemuseum, Eindhoven, 2018-ongoing). Staal completed his PhD research on propaganda art at the PhDArts programme of Leiden University. His most recent book is Propaganda Art in the 21st Century (The MIT Press, 2019).
Maina Talia was born and raised in Vaitupu, Tuvalu. Because of his strong link to his community and his people, Talia continues to be the voice for his community and his beloved country on the issue of climate justice and indigenous issues at the United Nations and at the Regional level. Talia was amongst the very few Pacific brothers and sisters who were highly involved in the UNFCCC Local Communities and Indigenous Peoples Platform from its infancy, to its adoption and operationalization. He was the co-chair of the International Indigenous Peoples Forum on Climate Change and is currently a full-time PhD candidate at the Charles Sturt University, researching on the issue of climate justice and (tu)akoi (neighbour) from three trajectories, muna o te fale (Indigenous Knowledge), biblical studies and the geopolitics of climate change.
Rolando Vázquez is Associate Professor of Sociology and Diversity Fellow at University College Roosevelt. Since 2009, he coordinates the annual Middelburg Decolonial Summer School together with Walter Mignolo. He co-authored the report of the Diversity Commission of the University of Amsterdam in 2016 under the direction of Gloria Wekker. He founded the initiative CRIDE (Critical Decoloniality) for sharing of decolonial practices among academic and cultural institutions. Through his work he seeks to develop practices of thinking and learning that transgress the dominant frameworks of Western epistemology and aesthesis. His forthcoming (2020) book with the Mondriaan Fund Vistas of Modernity focuses on decolonial aesthesis and functions as an archeology of the white gaze.
Sharon H. Venne
Sharon H. Venne (Notokwew Muskwa Manitokan) is a Cree woman; BA (Hon), LLB, LLM and a PhD candidate in the history department of the University of Alberta. The background research to the many clauses on the Declaration on the Rights of Indigenous Peoples is included in her book: Our Elders Understand Our Rights: Evolving International Law Regarding Indigenous Peoples (Theytus Books, 1998). In addition, Venne has written numerous articles and edited materials related to the rights of Indigenous Peoples and Treaty Rights of Indigenous Peoples. Her most recent published article is ‘Manufactured Consent – how state governments manufacture consent and use it against Indigenous Nations at the domestic and international level’ in Indigenous Peoples as Subjects of International Law edited by Dr. Irene Watson.
Ramón Vera-Herrera has worked since 2009 at GRAIN—an international organization working to support peasant farmers and social movements in their struggles to achieve community-controlled and biodiversity-based food systems. He is the editor of Biodiversidad, sustento y culturas, a quarterly magazine produced in collaboration with ten Latin American partner organizations, as part of the Alianza Biodiversidad. He also actively works with the rest of the GRAIN team in Latin America to refine the programme in the region. He organizes translations of GRAIN materials into Spanish and occasionally collaborates with bilaterals.org; he actively participates in the struggles of indigenous peasants in his country and with other of our counterparts in Latin America. Vera-Herrera also edits the monthly Mexican magazine Ojarasca on indigenous affairs as part of the newspaper La Jornada.
Connie Zheng is a Chinese-born artist, writer and filmmaker currently based out of Oakland, California. Her multidisciplinary work primarily examines diasporic memory, ecological elegy, and divergent articulations of hope from an environmental justice perspective, with particular attention to moving image practices and complex temporalities. She has exhibited work in the Netherlands and around the United States, through venues such as the IMPAKT Festival (Utrecht, Netherlands), the Asian Art Museum (San Francisco, CA) and AIR Gallery (New York, NY). She was a Collection Fellow at the KADIST Foundation in 2020 and has also received fellowships and residencies from organizations such as the Headlands Center for the Arts and the Minnesota Street Project Foundation. She recently published a chapter in The Routledge Companion to Contemporary Art, Visual Culture, and Climate Change and is currently a PhD student in Visual Studies at the University of California — Santa Cruz.