Carla Macchiavello, PhD, Assistant Professor in Art History, 
​Borough of Manhattan Community College, CUNY, New York​

Carla Macchiavello is an Assistant Professor in Art History at the Borough of Manhattan Community College, CUNY, New York. Originally from Chile, she received a PhD in Art History and Criticism from Stony Brook University in 2010 and worked as Assistant Professor in Art History (2010-2014) at Universidad de los Andes, Bogotá, Colombia. Her work centers on Latin American contemporary art with a focus on Chilean art; networks of solidarity and resistance; migrant identities in video art and documentary practices; appropriation and neocolonial violence; intersections between contemporary art and ecology; and the relations between art, politics, and performative practices.
Her work has been published in various journals including ArtMargins, Revista de Estudios Sociales, ERRATA#, seismopolite, and emisférica, as well as catalogs and edited books. She has been twice recipient of the CEDOC Artes Visuales essay prize for “Vanguardia de exportación: la originalidad de la 'Escena de avanzada' y otros mitos chilenos” (2011) and “Apropiaciones del sur del sur en el arte chileno de los noventa” (2016) (2012) on the international networks of solidarity and resistance that helped build the Museum in the 2016s and 1970s. She is currently completing her book on Chilean conceptual practices and territorial discourses during the military dictatorship (forecoming with Metales Pesados). She is part of the editorial committee of Cuadernos de Arte and co-edits the periodical Más allá del fin/Beyond the End for Ensayos - a nomadic research program based in Tierra del Fuego, that brings together artists, social scientists, natural scientists, and local agents to engage in research and reflection on the political ecology affecting the archipelago.

Cristiana Tejo, Curator and PhD Candidate in Sociology (UFPE), Recife / Lisbon

Cristiana Tejo is an independent curator and doctoral student in Sociology (UFPE). Together with Kiki Mazzuchelli, she organizes the Belojardim Residence, in Agreste de Pernambuco. She was co-founder of Espaço Fonte – Centro de Investigação em Arte (Recife) and curator of the Made in Mirrors Project, which involved exchanges between artists from Brazil, China, Egypt and the Netherlands. She was general coordinator of Scientific-Cultural Training and Diffusion of the Culture Directorate of the Joaquim Nabuco Foundation and co-curator of the 32nd Panorama of Brazilian Art at MAM – SP, with Cauê Alves. She was Director of the Aloísio Magalhães Museum of Modern Art, curator of Plastic Arts at Fundação Joaquim Nabuco (2002-2006), Curator of Rumos Artes Visuais at Itaú Cultural (2005-2006), visiting curator at Torre Malakoff (2003 – 2006) and curator of the 46th Pernambuco Visual Arts Salon (2004-2005). She was curator of Paulo Bruscky's Special Room at the X Havana Biennial, co-curated Brazilian Summer Show – Art & the City (Museu Het Domein, Netherlands, 2009) with Roel Arkenstein, Futuro do Presente (Itaú Cultural, 2007) with Agnaldo Farias and Art doesn´t deliver us from anything at all (ACC Galerie, Weimar, 2006). He participated in several selection and award committees, including: Bonnefanten Contemporary Art Prize 2014 (Maastricht, Netherlands), Videobrasil 2013, Solo Projects – Focus Latin America (ARCO Madrid, 2013), Rumos Artes Visuais da Argentina (international jury, 2011 ), Salão de Goiás, Salão Arte Pará, from the BNB Cultural Program, Situações Brasília, among others. She taught History of Art at Faculdades Integradas Barros Melo for 8 years where she also coordinated the Bachelor of Fine Arts (2008-2009). She published Paulo Bruscky – Art in all senses (2009), Panorama do Pensamento Emergente (2011) and Salto no Escuro (2012). She was the organizer of the book Paulo Bruscky – Arte e multimeios (2014) and Cinco Dimensions da Curadoria (in press). She regularly contributes to Select (Brazil) and Terremoto (Mexico) magazines. She lives and works between Recife and Lisbon.

Isabel Plante, PhD, Professor of Art History, CONICET-IDAES/UNSAM, Buenos Aires​

Isabel Plante is a researcher of the National Conseil of Scientific and Technical Research (CONICET) at the Institute for High Social Studies, Universidad Nacional de San Martín (IDAES-UNSAM), Argentina. Her doctoral thesis was published in Argentina in 2013 as Argentines of Paris. Art and cultural travels during the sixties. Her dela PHD dissertation and current investigation focus on international art exchanges, cultural identification and geographical migrations of artists and visual productions during the 1960s 'between Paris and South-American metropolis, such us Buenos Aires.

Maria Thereza Alves, Artist, Berlin
(1961, Brazil, lives in Germany)

Some exhibits: Sharjah Biennial 13, São Paulo Biennale (2016 and 2010), CAAC, (solo) Sevilla; MUAC, (solo) Mexico City; MAMAM, Recife; 8th Berlin Biennale, dOCUMENTA(13), Taipei Biennale; MAC, Marseilles; Maison Rouge, Paris; National Gallery of Canada, Guangzhou Triennale; Manifest, Trent; Arnolfini Center for Contemporary Art in Bristol, Tamayo Museum, Mexico City; Fondazione Sandretto, Turin; Berlin Film Festival; Kunsthalle, Basel; San Francisco Art Institute; Liverpool Biennale; Palais Tokyo, Paris; Central Space Gallery, London; Themistocles 44, Mexico City; Casa del Lago, Mexico City; New Museum, New York; La Estacion Gallery, Cuernavaca; Mexico, Minor Injury Gallery, New York; Kenkeleba Gallery, New York.
Upcoming: Slow Violence: Tracing the Anthropocene History, Kunsthal Charlottenborg in Copenhagen; Frestas Triennial 2017: Between Post-Truths and Events / Between Post-truths and Events. Sorocaba, São Paulo State, Brazil 2017; A Botany of Colonization, Sheila C. Johnson Design Center, (soil), New York; Verschwindende Vermächtnisse: Die Welt als Wald, Centrum für Naturkunde, Universität Hamburg; Survival Kit 9, Latvian Center for Contemporary Art; Carry Forward, KW Art Gallery, Ontario, Canada; 4.543 billion. The matter of matter. CAPC / musée d'art contemporain de Bordeaux, France 2017-2018.
Alves has been awarded the Vera List Center Prize for Art and Politics for 2016-2018, New York.
For further information see: http://www.mariatherezaalves.org

Ariane VarelaBraga

Ariane Varela Braga is SNSF research assistant at the University of Zürich. She studied at the University of Geneva and obtained her PhD (summa cum laude) at the University of Neuchâtel in 2013 with a dissertation on Owen Jones's Grammar of Ornament (published by Campisano Editore in 2017). She has been a scholarly member of the Swiss Institute in Rome and a lecturer at John Cabot University. She is the co-founder of the Rome Art History Network and the Visual Studies-Rome Network. Her interests focus on the theory of ornamentation, the reception of non-Western art and the transfers of decorative and architectural models in the 19th century. She is the co-editor of volumes on architectural Orientalism, on the use of colored marbles in sculpture and the decorative arts and editor of a volume on the theory of ornament.

 Gail Feigenbaum

Gail Feigenbaum is associate director of the Getty Research Institute. A scholar of early-modern European Art, she received her BA at Oberlin College and her doctorate in art history at Princeton University. She has held numerous awards including the Rome Prize at the American Academy. Before joining the Getty, she worked at the National Gallery of Art, at the Center for Advanced Study in the Visual Arts, and at the New Orleans Museum of Art. Among the exhibitions she has curated are Ludovico Carracci, (Bologna and Fort Worth) ; Degas and New Orleans: A French Impressionist in America, (New Orleans and Ordrupgaard), Jefferson's America and Napoleon's France: An Exhibition for the Bicentennial of the Lousiana Purchase, NOMA, and Annibale Carracci Drawings at the National Gallery of Art. She has published extensively on the Carracci, Caravaggio and 17th century French painting, and she edited three recent books on collecting Italian art, provenance, and display of art in Roman palaces. She is currently directing a research project on America and the international art market 1880-1930.

Peter Fuhring

Peter Fuhring obtained his PhD in art history at Leiden University (Cum Laude) in 1994. He received for his dissertation on the life and work of Juste-Aurèle Meissonnier (1695-1750) the Præmium Erasmianum Price and the Mr. JW Frederiks Price. He specialized in the history of ornament and design and has published numerous articles and books on the history of design drawings, prints and printmaking, ornament and decorative arts, and organized several exhibitions. He was the first to hold the Ottema Kingma Chair for the History of the Decorative Arts at the Radboud University in Nijmegen from 2005 to 2009. He is currently working for the Fondation Custodia in Paris where he is in charge of Frits Lugt's Brands from dessins & prints collections, a database of collectors' marks on drawings and prints launched online in 2010, and which is continually enriched.

Horacio Fernandez

PhD in Art History, he taught History of Photography in Cuenca University. He is a well-known art critic and curator of many photobook exhibitions. Among many others, his seminal exhibition was Fotografía Pública / Photography in Print 1919 -1939 (Reina Sofia Musem, Madrid 1999-2000). He is also the author of many works devoted to photobooks. In 2011 he published El foto libro latinamericano, which won the award for the best photobook of the 2012 year in Arles Art Encounters. His contribution to photobooks role in visual culture is internationally recognized. He was PHotoEspaña curator between 2004 and 2006.

PhD in Art History, professor of History of Photography at the University of Cuenca, he is also a well-known art critic and curator of exhibitions on the subject of photobooks. These include the seminal exhibition Fotografía Pública/Photography in Print 1919 -1939 (Reina Sofia Museum, Madrid 1999-2000). He is also the author of many works dedicated to photo books. In 2011 he published El foto libro latinamericano, which won the Prize for the best photo-book of 2012 at the Encontros de Arles, France. His contribution to the study of the role of photobooks is fundamental to visual culture and is internationally recognized. He was the curator of FHotoEspaña between 2004 and 2006.

Javier Ortiz Echagüe 

He has a degree in Art History and a PhD in Information Sciences from Madrid Complutense University. He was a visiting scholar at New York University and at the University of Provence (France). He published Yuri Gagarin and the Count of Orgaz. Mística y aesthetics of the spatial era (2014), and was the editor of the anthology about José Val del Omar, Escritos de Técnica, Poética y Mística (2010), as well as co-author with Horacio Fernández of Fotos & Libros. Spain 1905-1907 (Reina Sofia Museum, Madrid, 2010). He is currently a professor at the Navarra University. In 2016 he was the invited Curator to the exhibition “ Nunca Visto. From Informalism to the post-war photobook” at the Juan March Foundation, Madrid.

He has a degree in Art History and a PhD in Information Sciences from the Complutense University of Madrid. He was a visiting scholar at New York University and the University of Provence (France). Among other important works, he published Yuri Gagarin and the Count of Orgaz. Mystique and aesthetics of the space age (2014). He was the editor of José Val del Omar's anthology, Escritos de Técnica, Poética y Mística (2010), as well as co-author with Horacio Fernández of Fotos & Libros. Spain 1905-1907 (Reina Sofia Museum, Madrid, 2010). He is currently professor of History of Photography at the University of Navarra. In 2016 he was invited as a curator for the exhibition “Never seen. From Informalism to the post-war photo-book” at the Juan March Foundation, Madrid.

Paul Melo e Castro

Lecturer of the University of Leeds, he is a researcher in the area of ​​Lusophone literature, film and visual culture, as well as on the use of photography and photojournalism for propaganda purposes by the Portuguese authoritarian regime (1926-1974). He is currently working on Ricardo Rangel's photographic approach to the urban colonial city of Maputo (Mozambique). He published, among other works, “The Eye of the Photographer and the Foot of the Flâneur: Eduardo Gageiro's Lisboa no Cais da Memória (2003)” (2012) and the book Shades of Gray: 1960s Lisbon in Novel, Film and Photography ( 2011).

Assistant professor at the University of Leeds, he is a researcher in the area of ​​Lusophone Literature, cinema and visual culture. He is also interested in the use of photography and photojournalism for propaganda purposes during the Portuguese Estado Novo regime (1926-1974). He is currently investigating the contribution of Mozambican photographer Ricardo Rangel to the colonial life of the city of Maputo (Mozambique). He published, among other works, “The Eye of the Photographer and the Foot of the Flâneur: Eduardo Gageiro's Lisboa no Cais da Memória (2003)” (2012) and the book Shades of Gray: 1960s Lisbon in Novel, Film and Photography (2011 ). 

Reesa Greenberg (Carleton University, Ottawa; York University, Toronto)

Reesa Greenberg is an Ottawa-based art historian who analyzes the roles of history and memory in recent exhibition practices. Her essays include 'Remembering Exhibitions': From Point to Line to Web; Archival Remembering Exhibitions; Editing The Image: Two Onsite/Online Exhibitions; MOMA and Modernism: The Frame Game; and The Exhibition as Discursive Event. She co-edited Thinking About Exhibitions, a key publication in opening the fields of curatorial and exhibition studies. Currently, she is Adjunct Professor of Art History at Carleton University, Ottawa and York University, Toronto. She was Visiting Professor in the Curatorial MA program of the California College of the Arts and taught in the first Moscow Curatorial Summer School.

Remembering Exhibitions Online: From Inventory, to Augmented, to Interactive Sites – A Discussion of Taxonomy and Implications        

Extended : Since 2008 when I began writing about exhibitions documented online, a lot yet little has changed. In this presentation, I want to reconsider the premises, practices and paradoxes of online exhibition documentation. Much of what I will say can be used to build a provisional, if partial, archeological and interpretive framework of attempts by museums to record their temporary exhibitions.

Although digital technologies for recording exhibitions and their dissemination are barely twenty years old, there is an urgency to look back at what has happened in the digital domain in order to consolidate and remember an already fleeting history. It is my hope that a fuller understanding of past iterations, issues, and implications involved in documenting online exhibitions may lead to more strategic and productive approaches as we move forward.

Rémi Parcollet (HICSA university Paris 1 Panthéon-Sorbonne)

Rémi Parcollet is art historian. He works on the history of exhibitions, using contemporary approaches to visual archives, digital heritage and humanities, and image processing in the history of museums. He was a postdoctoral fellow at the Laboratoire d'Excellence Création, Art et Patrimoines and worked on setting up the exhibition history program at the Center Pompidou and initiated the catalog raisonné of the MNAM-CCI exhibitions. Co-curator of the exhibition Soixante Dix Sept Experiment at the Photographic Center of Ile de France (11th March-16th July 2017) as part of the fortieth anniversary of the Center Pompidou, he co-directs Postdocument and works in affiliation with the Laboratoire Histoire culturelle et sociale de l'art (HICSA), Paris 1. Rémi Parcollet published « (Re)producing the Exhibition, (Re)thinking Art History. On the Visual Archives of Primary Structures » (Revue Critique d'art, no45, June 2016), «The photographic archives of Pompidou Center"(Cahiers du CAP, March 2015).

Exhibition view. The primary sources of exhibition history        

Extended : It is useful to bear in mind that the universal fame of several important exhibitions of the 20th century essentially stemmed from the photographs which had shaped their “becoming-image”.

Following the establishment in 2011 of its research program on the history of exhibitions, the Center Pompidou decided to catalog all its past exhibitions using the form of the catalog raisonné as methodological starting point. But how can the genre catalog raisonné be adapted to exhibition history? What shape should it take?

As often recalled in recent publications concerned with exhibition history, exhibition views appear dominant amongst the various documents used to reconstruct the history of an exhibition. De facto, this kind of archival photograph holds a determining place in the project of the catalog raisonné of exhibitions. Yet it wasn't before 2010 that the Center Pompidou began to digitize its entire collection of exhibition's view. This process of inventory being as much the cause as it is the consequence of the production of a catalog raisonné of exhibitions. An interesting comparison can be established between the Center Pompidou project and the archival project carried out by the MoMA which follows similar intentions, yet using different methods.

If the photographic reproduction operates a radical decontextualization of the work of art, favoring cognition over perception, an exhibition view is determined according to time and space. It is, before, during and after the exhibition, both an indicator and a verifier of information. The indications, which it provides, establish elements for the critical analysis of an exhibition. Recording an exhibition thanks to the medium of photography has always given rise to objects that allow comparisons and verifications.

The importance of archiving and documentation of exhibitions is growing. For this reason, it seems important to compare the collections kept in the archives of the Center Pompidou with other collections of archives.

 Alberto Samaniego (Faculty of Fine Arts, University of Vigo)

Alberto Ruiz de Samaniego.

 PhD in Philosophy and Master in Aesthetics and Theory of the Arts (Madrid Autonomous University). Professor of Aesthetics and Theory of the Arts (Vigo University) and coordinator of the Master of Contemporary Art: investigation and creation at the same University. He was director of the Luis Seoane Foundation, Coruña (2008-2011) and curator of the Spanish Pavilion at the 52nd Venice Biennale (2007). Espais Award for art criticism (Espais Contemporary Art Foundation). He is co-director (with Miguel Ángel Ramos) of the Larva collection, Editorial Mayan-Abada. Books published: Blanchot: a neutral aesthetic and Semillas of time (1999); The generation of democracy. New philosophical thinking in Spain (2002), in collaboration with Miguel A. Ramos; The postmodern inflection: the margins of modernity (2004); James Casebere and Beauty from another world. Points about some poetics of real estate (2005); Photographic landscape. Between Gods and photography (2007); Being y is not being. Figures in the spectral domain (2014); The beautiful hours. Writings about cinema and black theater by Jorge Molder (2015). Literary editor of the books Fin de siglo myths (2000) and Animation Aesthetics (2009). Co-director of the documentary film Pessoa/Lisbon (2016)

 Alberto Ruiz de Samaniego. PhD in Philosophy and Theory of Arts (Autonomous University of Madrid). Professor of Aesthetics and Theory of Arts (University of Vigo) and coordinator of the Master of Contemporary Art: investigation and creation at the same University. He was Director of the Luis Seoane Foundation, A Coruña (2008-2011) and curator of the Spanish representation at the 52nd Venice Biennale (2007). Espais Prize for art criticism (Fundación Espais de Arte Contemporáneo). He is co-director (with Miguel Ángel Ramos) of Colecção Larva, Editorial Mayan-Abada. Published books: Blanchot: a neutral aesthetic eSemillas of time (1999); The generation of democracy. New philosophical thinking in Spain (2002), in collaboration with Miguel A. Ramos; The postmodern inflection: the margins of modernity (2004); James Casebere and Beauty from another world. Points about some poetics of real estate(2005); Photographic landscape. Between Gods and photography (2007); Being y is not being. Figures in the spectral domain (2014); The beautiful hours. Writings about cinema and black theater by Jorge Molder (2015). Literary editor of books Fin de siglo myths (2000) and Animation Aesthetics (2009). Co-director of the documentary filmPessoa/Lisbon (2016)

Jörg H. Gleiter (Institute for Architecture, Technische Universität Berlin)

Jörg H. Gleiter (Prof. Dr.-Ing. habil., MS, BDA) since 2012 he is the head of the chair of architectural theory and the managing director of the Institute for Architecture of Technische Universität Berlin. In 2002 he received his PhD in architectural theory and in 2007 his Habilitation in philosophy of architecture. In 2008-12 he held a professorship in aesthetics at Free University in Bolzano. Prior to this he was a visiting professor in Venice, Tokyo, Weimar, Bolzano and Providence (RI). Jörg Gleiter is a two-time fellow in residence of Kolleg Friedrich Nietzsche at Weimar. Among his publications are Architecture and Philosophy [Architecture and Philosophy] (ed. together with Ludger Schwarte, Bielefeld 2015); Ornament Today. Digital. Material. Structural (in English, ed. by Jörg H. Gleiter, Bolzano 2012); Der philosophische Flaneur. Nietzsche und die Architektur [The Philosophical Flaneur. Nietzsche and Architecture] (Würzburg 2009).

Jörg H. Gleiter (Prof. Dr.-Ing. habil., MS, BDA) has been, since 2012, responsible for the chair of Architectural Theory and the Executive Director of the Institute of Architecture at the Technical University of Berlin. In 2002, he received his PhD in Architectural Theory and in 2007 he completed his Authorization in Philosophy of Architecture. In 2008-12 she held the chair of Aesthetics at the Free University of Bolzano. Previously, he was Guest Professor in Venice, Tokyo, Weimar, Bolzano and Providence (RI). Jörg Gleiter has twice been a resident researcher at the Kolleg Friedrich Nietzsche in Weimar. Among his publications, the following stand out: Architecture and Philosophy (edited in collaboration with Ludger Schwarte, Bielefeld 2015); Ornament Today. Digital. Material. Structural  (edited in collaboration with Jörg H. Gleiter, Bolzano 2012); It is Der philosophische Flaneur. Nietzsche und die Architektur (Würzburg 2009).

Maria Filomena Molder (Faculty of Social and Human Sciences – NOVA University)

Maria Filomena Molder is Full Professor at the FCSH of the New University of Lisbon. Between 2003 and 2009, she was a member of the Scientific Committee of the Collège International de Philosophie. Her main publications include Goethe's Morphological Thought, INCM, 1995. Sowing in the Snow. Studies on Walter Benjamin, Relógio d'Água, 1999 – Pen-Club Essay Award of 2000. Sensitive Matters, Relógio d'Água, 2000. The Imperfection of Philosophy, Relógio d'Água, 2003. The Absolute that belongs to the Earth, Gale , 2005. Symbol, Analogy and Affinity, Gale, 2009. The Chemist and the Alchemist. Benjamin, Baudelaire Reader, Water Clock, 2011 – Pen-Club Essay Award of 2012. The Clouds and the Sacred Vessel, Water Clock, 2014. Deposit of Powder and Gold Foil, Lumne Editora, 2016. Venetian sweets ,Water Clock, 2016.

 Maria Filomena Molder She is a full professor at FCSH at UNL. Between 2003-2009 she was a member of the Scientific Council of the Collège International de Philosophie. Main publications: Goethe's Morphological Thought, INCM, 1995. Sowing in the Snow. Studies on Walter Benjamin, Relógio d'Água, 1999 – Pen-Club 2000 Prize for Essay. Sensitive Matters, Relógio d'Água, 2000. The Imperfection of Philosophy, Relógio d'Água, 2003. The Absolute that belongs to the Earth, Vendaval, 2005. Symbol, Analogy and Affinity, Vendaval, 2009. The Chemist and the Alchemist. Benjamin, Reader of Baudelaire, Relógio d'Água, 2011 – Pen-Club 2012 Prize for Essay. The Clouds and the Sacred Vessel, Relógio d'Água, 2014. Deposit of Dust and Gold Foil, Lumne Editora, 2016. Rebuçados Venezianos, Relógio D'Água, 2016.

Nayia Yiakoumaki (Curator, Whitechapel Gallery)

Nayia Yiakoumaki

  is a curator with substantial experience in the field. She has lectured regularly at universities in the UK and abroad since 1991 on Curating and Visual Arts. Since 2005 she is curator at the Whitechapel Gallery in London where she has been developing an innovative program of exhibitions related to the use of archives as a curatorial resource. This program has attracted international attention from professional peers and institutions, and has been running for almost a decade. Whilst maintaining her long commitment to the Whitechapel Gallery, in September 2016 Nayia Yiakoumaki became the Director of Research and International Networks of the Athens Biennale, being one of its co-directors.

 Nayia Yiakoumaki is a curator with extensive experience in the field and, since 1991, has regularly lectured on curating and visual arts at universities in the United Kingdom. She has been a curator at the Whitechapel Gallery since 2005, London, where she has developed an innovative program of exhibitions related to the use of archives as a curatorial resource. This program, which has been running for almost a decade, has aroused the interest of colleagues and international institutions. In keeping with her long commitment to the Whitechapel Gallery, in September 2016 Nayia Yiakoumaki became Director of Research and International Networks at the Athens Biennale, being one of its co-directors.

Sabeth Buchmann (Vienna Academy of Fine Arts)

Sabeth Buchmann is an art historian and art critic in Berlin and Vienna. She also teaches History of Modern and Post-modern Art at the Fine Arts Academy of Vienna. Her publications include Hélio Oiticica, Neville D'Almeida and others: Block-Experiments in Cosmococa (2013, together with Max Jorge Hinderer Cruz); Film Avantgarde Biopolitik (2009, co-edited with Helmut Draxler and Stephan Geene); Denken gegen das Denken. Production – Technologie – Subjektivität bei Sol LeWitt, Yvonne Rainer and Hélio Oiticica (2007); Art After Conceptual Art (2006, co-edited with Alexander Alberro). She is also co-editor of the series PoLyPen (b_books, Berlin) and a member of the Advisory Board of Texte zur Kunst (Berlin).

Sabeth Buchmann, art historian and art critic, Berlin/Vienna; Professor of History of Modern and Postmodern Art at the Academy of Fine Arts in Vienna. Her publications include: Hélio Oiticica, Neville D'Almeida and others: Block-Experiments in Cosmococa (2013, co-authored with Max Jorge Hinderer Cruz); Film Avantgarde Biopolitik (2009, co-edited with Helmut Draxler and Stephan Geene); Denken gegen das Denken. Production – Technologie – Subjektivität bei Sol LeWitt, Yvonne Rainer and Hélio Oiticica (2007); Art After Conceptual Art (2006, co-edited with Alexander Alberro). Co-editor of the PoLyPen series (b_books, Berlin). Member of the Advisory Board of Texte zur Kunst (Berlin).

Johannes Nathan (Chair at The International Art Market Studies Association).

Johannes Nathan studied Art History at NYU (BA) and the Courtauld Institute of Art (MA, PhD). He taught art history at the University of Berne until 2001 when he became director of his family's Galerie Nathan in Zurich, now Nathan Fine Art in Zurich and Potsdam. He has taught – particularly Renaissance art history and the history of the art market – at the universities of Berlin (TU), Cologne, Leipzig, New York (NYU) and Zurich. In 2012 he co-founded the Forum Kunst und Markt at TU Berlin. With From Gruyter Publishers, Berlin, he initiated the Art Market Dictionary for which he serves as Editor-in-Chief. Among his books are Leonardo da Vinci, The Graphic Work (Cologne 2014, with Frank Zöllner) and The Enduring Instant. Time and the Spectator in the Visual Arts (Berlin 2003, co-edited with Antoinette Friedenthal).

Peter Burke (Emeritus Professor of Cultural History of Emmanuel College).

A (Oxford and Cambridge), Hon PhD (Brussels, Bucharest, Copenhagen, Lund and Zurich), FBA, Member of the Academia Europaea, FRHistS.
Educated by the Jesuits and at Oxford (St John's and St Antony's), Peter Burke taught in the School of European Studies, University of Sussex from 1962 to 1979 as Assistant Lecturer and Lecturer in History and as Reader in Intellectual History. He moved to Cambridge to become a Lecturer in History and subsequently Reader in and then Professor of Cultural History. In Emmanuel he has served as Librarian and Archivist. He has published 23 books, and has been translated into 28 languages.
Significant publications:
The Italian Renaissance (1972) Popular Culture in Early Modern Europe (1978) New Perspectives on Historical Writing (1991)The Fabrication of Louis XIV (1992)History and Social Theory (1992) The Art of Conversation (1993) A Social History of Knowledge (2000) Eyewitnessing (2000) What is Cultural History? (2004)Languages ​​and Communities in Early Modern Europe (2004)

Amélia Maria Polónia da Silva (University of Porto)

Associate Professor at University of Porto; researcher of CITCEM (Transdisciplinary Research Center Culture, Space, Memory), member of the Academia Europaea; vice-president of.IMHA (International Maritime History Association). Seaports history, migrations, transfers and flows between continents and oceans, informal mechanisms of empire building, the role of women in colonial dynamics and the environmental implications of the European colonization overseas are key-subjects of her research.

Co-editor of Beyond Empires: Self Organizing Cross Imperial Networks vs Institutional Empires, 1500-1800 (Leiden: Brill, 2016); Mechanisms of Global empire Building (Porto: CITCEM/ Afrontamento, 2017), Maritime History as Global History (Newfoundland: IMEHA 2011) and Connecting worlds: Production and Circulation of Knowledge in the First Global Age (Cambridge: Cambridge Scholars Publishing, forthcoming), she authors “The environmental impacts of the historical uses of the seas in the First Global Age” in EOLSS (Oxford, UK: Eolss Publishers, 2014).

Miguel Ángel Hernández Navarro (University of Murcia, Spain)

Miguel Ángel Hernández Navarro is Associate Professor of Art History at the University of Murcia, Spain and formerly the director of the CENDEAC in Murcia. He is author of several books on art and visual culture including Materialize the past. The artist as a Benjaminian historian (2012) Robert Morris (2010) 2Move: Video Art Migration (2008, with Mieke Bal), The shadow of the real (2006) and co-editor of Art and Visibility in Migratory Culture (with Mieke Bal, 2011). He is also a writer, author of the novel fiction The moment of danger (Finalist Herralde Prize, 2015) and Escape attempt (2013, translated into German, French, English and Italian)

Hani Rashid, with Lise Anne Couture, is the co-founder of Asymptote Architecture, the highly acclaimed New York City based practice. Through its award winning design for buildings, interiors, installations and masterplans, Asymptote has gained an international reputation for design excellence. Current and recent projects include a commission for the new Hermitage Museum of Contemporary Art, residential towers in the cities of Moscow and Miami, the Yas Viceroy Marina Hotel in Abu Dhabi, UAE, an ING Bank Headquarters in Ghent, Belgium, and the ARC, a multi-media exhibition building in Daegu, South Korea.

Hani Rashid also has an ongoing distinguished academic career that includes visiting professorships at the Royal Academy of Fine Arts School of Architecture in Copenhagen, SCI-Arc, the Berlage Institute in Amsterdam, and the ETH in Zurich.

He and his partner Lise Anne Couture were awarded the prestigious Frederick Kiesler Prize for Architecture and the Arts in recognition of exceptional contributions to the merging of art and architecture. Asymptote was named by TIME magazine as Leaders in Innovation for the 21st Century.

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Marisa Olson

Marisa Olson is an artist, writer, and media theorist. Her interdisciplinary work combines performance, video, drawing and installation to address the cultural history of technology, the politics of participation in pop culture and the aesthetics of failure. These works have been exhibited at the Venice Biennale, Center Pompidou, Tate(s) Modern + Liverpool, New Museum, the Nam June Paik Art Center, British Film Institute, Sundance Film Festival, Performa Biennial; commissioned and collected by the Whitney Museum, Museum of Modern Art, Houston Center for Photography, Experimental Television Center, and PS122; and reviewed in Artforum, Art21, the NY Times, Frieze, Liberation, the Globe & Mail, Folha de Sao Paolo, the Village Voice, and elsewhere.

Marisa Olson has written widely on the relationship between art, politics and media technology. In her essay “Lost Not Found: The Circulation of Images in Digital Visual Culture” (2008), she has coined the term Post-Internet Art, which she has addressed in subsequent publications and also in her curatorial work. She has organized exhibitions in leading institutions such as the Guggenheim Museum, SFMOMA, and Rhizome/New Museum, where she was previously editor and curator.

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Salvatore Iaconesi & Oriana Persico

Salvatore Iaconesi is an interaction designer, robotics engineer, artist, hacker. TED Fellow 2012, Eisenhower Fellow since 2013 and Yale World Fellow 2014.

He currently teaches Interaction Design and cross-media practices at the Faculty of Architecture of the “La Sapienza” University of Rome, at ISIA Design Florence, at the Rome University of Fine Arts and at the IED Design institute.
He has produced video games, artificial intelligences, expert systems dedicated to business and scientific research, entertainment systems, mobile ecosystems, interactive architectures, cross-medial publications, augmented reality systems, and experiences and applications dedicated to providing products, services and practices to human beings all over the world, enabled by technologies, networks and new metaphors of interactions, across cultures and languages.

Oriana Persian holds a degree in Communication Sciences, is an expert in participatory policies and digital inclusion. She is an artist and writer.
She has worked together with national governments and the European Union to the creation of best practices, standards and researches in the areas of digital rights, social and technological innovation, Digital Business Ecosystems (DBE), practices for participation and knowledge sharing.
Oriana writes critical, scientific, philosophical and poetic texts that connect to technological innovation, and on its cultural, sociological, economic and political impacts.
She is an expert on the formal analysis of cultural and social trends, with specific focus on social networks.
She creates breakthrough communication campaigns, performances, research methodologies and strategies.

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Morten Søndergaard

Morten Søndergaard (MA & PhD) is Associate Professor and Curator of Interactive Media Art at Aalborg University, Denmark. He is a member of the Media Art Histories Faculty (Krems) and the co-founder and AAU-coordinator of Erasmus Master in Media Arts Cultures (www.mediartscultures.eu). He is the co-founder (with Peter Weibel) of ISACS – International Sound Art Curating Conference Series and (with Laura Beloff) of the upcoming EVA-Copenhagen symposium. He was deputy director and curator at The Museum of Contemporary Art in Roskilde, Denmark 1999-2008. As Media Art Curator, he has operated in mixed and public spaces since 1995. Upcoming curatorial projects include C/Borg – Parliament of Robots by Ken Rinaldo at the DIAS Gallery, which is situated in an S-train station in Copenhagen. His latest research is published / under publication at MIT Press, Routledge, De Gruyter, Continent.cc, MT Press (Copenhagen University), and Mediekultur.dk (among others).
More information at: www.sondergart.dk

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Pieternel Vermoortel(FormContent, KASK (Ghent), Goldsmiths, University of London)

Pieternel Vermoortel is artistic director of Netwerk Aalst, with Els Silvrants-Barclay. She is curator and writer, and cofounder/director of the curatorial institute FormContent, where the most recent project, “The Subject Interrupted,” looks at the drives and conditions around cultural production. Currently she teaches curating at Curatorial Studies KASK, Ghent, and was a lecturer in Critical Studies at Goldsmiths, University of London. She has also taught at LUCA, in Brussels, and HISK, in Ghent. Vermoortel has written for various catalogs and magazines, such as Art Agenda and Metropolis M, and has edited publications including ao, Cave#1: Territories (2016, Sternberg Press, met Els Silvrants-Barclay), It's Moving from I to It (2014) The Responsive Subject (2011), and Out of the Studio (2008). Recent exhibitions she has curated include The Faraway Rendez-vous, at SixtyEight Art Institute in Copenhagen (2016), Practicing the Habits of the Day, at the ICA in Singapore (2016); The Play, with Tim Etchells, at Tate Modern (2015); If I Can't Dance, in Amsterdam (2015); and The Young People Visiting Our Ruins See Nothing But a Style, at the GAM, in Turin (2010).

Ferran Barenblit (Barcelona Contemporary Art Museum)

Ferran Barenblit (Buenos Aires, 1968)studied Art History at the Universitat de Barcelona (1991) and Museology at New York University (1995). Since 2008 he has been director of CA2M Centro de Arte Dos de Mayo de la Comunidad de Madrid. CA2M opened in Móstoles, in the metropolitan area of ​​Madrid. From 2002 to 2008 Barenblit was director of the Center d'Art Santa Mònica, a space dedicated by the Generalitat de Catalunya to contemporary art. Barenblit has lectured at universities and museums around the world, including: UC Berkeley; UC Santa Barbara; University of Buenos Aires; Université Paris III – Sorbone Nouvelle; Royal Academy of Fine Arts, Copenhagen.He is a member of: ACCA, Catalan Association of Art Critics (Board: 2000–2); IKT, International Association of Contemporary Art Curators (Board: 2011–14); ADACE, Asociación de Directores de Arte Contemporáneo de España (Board since 2007); CIMAM, International Committee for Museums. More ...

Annika Gunnarsson (Moderna Museet, Stockholm, Sweden)

Annika Gunnarsson holds a PhD in Art History and is curator of Prints and Drawings at Moderna Museet since 2001. At the museum she has curated exhibitions, edited catalogues, worked with programming and is currently researching the early history of the museum. Annika Gunnarsson holds an interest in images, visuality, art theory and museum studies.

Luiz Camilo Osório (Rio de Janeiro, 1963) He has a PhD in Philosophy, Professor at the Department of Philosophy at PUC-Rio. Between 2009 and 2015 he was Curator of the Museum of Modern Art in Rio de Janeiro. In 2015 he was the curator of the Brazilian pavilion at the Venice Biennale. Author of the following books: Flavio de Carvalho, Cosac&Naify, SP, 2000; Abraham Palatnik, Cosac&Naify, SP, 2004; Reasons for Criticism, Zahar, RJ, 2005 and Angelo Venosa, Cosac&Naify, SP, 2008, Olhar à Margem, SP, Editora SESI-SP/Cosac, 2016

He was an art critic for the newspaper O Globo between 1997 and 2008 and on the curatorial board of MAM-SP between 2006 and 2008. He published essays and reviews in magazines and catalogs and carried out independent curatorships in Brazil and abroad.