Glyn Davis
Glyn Davis is Professor of Film Studies at the University of St Andrews, Scotland; he is primarily a historian and theorist of queer visual culture. From 2016 to 2019, he was the Project Leader of 'Cruising the 70s: Unearthing Pre-HIV/AIDS Queer Sexual Cultures' (funded by HERA and the European Commission); from 2023 to 2025, he is the Project Leader of 'Perverse Collections: Building Europe's Queer and Trans Archives' (funded by JPICH). His writing has appeared in journals including Aniki, Cinema Journal, GLQ, MIRAJ and Screen. Recent publications include Queer Print in Europe (Bloomsbury 2022, co-edited with Laura Guy), and The Richard Dyer Reader (BFI/Bloomsbury 2023, co-edited with Jaap Kooijman). Glyn is currently writing a BFI Film Classic on Rebel Without a Cause.
T J Demos
T J Demos is Patricia and Rowland Rebele Endowed Chair in the Department of the History of Art and Visual Culture, University of California, Santa Cruz, and Director of its Center for Creative Ecologies. He writes widely on the intersection of visual culture, radical politics and political ecology – particularly where it opposes racial and colonial capitalism – and is the author of several books, including Beyond the World’s End: Arts of Living at the Crossing (Duke University Press, 2020), Against the Anthropocene: Visual Culture and Environment Today (Sternberg Press, 2017) and Decolonizing Nature: Contemporary Art and the Politics of Ecology (Sternberg Press, 2016). Demos curated ‘Rights of Nature’ at Nottingham Contemporary (2015); ‘Specters: A Cinema of Haunting’, at Madrid’s Museo Reina Sofia (2014); and ‘Beyond the World’s End’ at the Museum of Art and History, Santa Cruz (2019). In Spring 2020, he was a Getty Research Institute Fellow, and is directing the Mellon-funded Sawyer Seminar research project ‘Beyond the End of the World’ during 2019–21. He is working on a new book on radical futurisms.
Angela Dimitrakaki
Angela Dimitrakaki is a writer and Professor of Contemporary Art History and Theory at the University of Edinburgh where she leads the MSc in Modern and Contemporary Art. Working across Marxism and feminism, Angela is the author of over seventy essays and articles on art since the 1960s (and sometimes earlier). 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), ECONOMY: Art, Production and the Subject in the Twenty-First Century (2015, co-edited with Kirsten Lloyd) while her new single-authored book Feminism. Art. Capitalism (Pluto Press) and the edited volume on photography, collectivism and the financial crisis in Greece, Depression Era: A Collective Lens in the Age of Crisis (with Alexander Strecker), are forthcoming in 2025.
Anthony Downey
Anthony Downey is a writer, academic and editor. He is Professor of Visual Culture in the Middle East and North Africa at Birmingham City University in the UK, and the Cultural and Commissioning Lead on a four-year AHRC funded research project focusing on cultural practices, education and digital methodologies in Lebanon, the Occupied Palestinian Territories, and Jordan (2020–2024). He is an editor at the Journal of Digital War and the series editor for Research/Practice (Sternberg Press, 2019–ongoing). Recent and upcoming publications include Unbearable States: Digital Media, Cultural Activism and Human Rights (forthcoming, 2022); Topologies of Air (2021); Heba Y Amin: The General’s Stork (2020); Michael Rakowitz: I'm good at love, I'm good at hate, it's in between I freeze (2019); and Critique in Practice: Renzo Martens’ Episode III (Enjoy Poverty) (2019). In 2020, he curated ‘Heba Y Amin: When I see the future, I close my eyes’ at the Mosaic Rooms, London.
Kodwo Eshun
Kodwo Eshun teaches on the MA in Contemporary Art Theory in the Department of Visual Cultures at Goldsmiths College, University of London.
Denise Ferreira da Silva
Denise Ferreira da Silva is an academic and practising artist, and currently the Director of the Institute for Gender, Race, Sexuality and Social Justice at the University of British Columbia. The author of Toward a Global Idea of Race (University of Minnesota Press, 2007), A Dívida Impagavel (Oficina da Imaginaçāo Política and Living Commons, 2019), Unpayable Debt (Sternberg/MIT Press, 2021), and co-editor (with Paula Chakravartty) of Race, Empire, and the Crisis of the Subprime (Johns Hopkins University Press, 2013), her articles have appeared in the journals Social Text; Theory, Culture & Society; Social Identities; PhiloSOPHIA; Griffith Law Review; Theory & Event; and The Black Scholar, among others. Artistic works include the films Serpent Rain (2016) and 4Waters-Deep Implicancy (2018), in collaboration with Arjuna Neuman; and the relational art practices Poethical Readings and Sensing Salon, in collaboration with Valentina Desideri. She has exhibited and lectured at venues such as the Pompidou Centre (Paris), Whitechapel Gallery (London), MASP (Sāo Paulo), and the Guggenheim and MoMA in New York. She has written for publications for the biennales of Liverpool (2017), São Paulo (2016) and Venice (2017), and Documenta 14, and published in art journals and platforms such as Canadian Art, Texte Zur Kunst and E-Flux.
Reuben Fowkes
Reuben Fowkes is an art historian, curator and co-director of the Post-socialist Art Centre (PACT) at the Institute of Advanced Studies, UCL, and co-founder of the Translocal Institute for Contemporary Art. His publications include Art and Climate Change (Thames & Hudson, forthcoming 2022), the edited volume Ilona Németh: Eastern Sugar (Sternberg Press, 2021), Central and Eastern European Art Since 1950 (Thames & Hudson, 2020), and the special issue Third Text 153: ‘Actually Existing Worlds of Socialism’ (2018). Curatorial collaborations include the Anthropocene Reading Room, the Danube River School, the group show ‘Walking without Footprints’, and a trilogy of exhibitions on the revolutions of 1956, 1968 and 1989. He jointly heads the Getty Foundation supported research project ‘Confrontations: Sessions in East European Art History’.
Ros Gray
Ros Gray is a senior lecturer in Fine Art Critical Studies at Goldsmiths, University of London. She is currently working on a monograph tentatively titled Cinemas of the Mozambican Revolution.
Nomusa Makhubu
Nomusa Makhubu is an Associate Professor in Art History at the University of Cape Town. She was the recipient of the ABSA L’Atelier Gerard Sekoto Award in 2006 and the Prix du Studio National des Arts Contemporain, Le Fresnoy in 2014. She received the American Council of Learned Societies (ACLS) African Humanities Program fellowship award and was an African Studies Association (ASA) Presidential fellow in 2016. In 2017, she was also a UCT-Harvard Mandela fellow at the Hutchins Centre for African and African American Research at Harvard University. Recognising the need for mentorship and collaborative practice in socially responsive arts, she founded Creative Knowledge Resources (CKR). She co-curated with Nkule Mabaso the international exhibition ‘Fantastic’ at the University of Cape Town’s Michaelis Galleries in 2015, and ‘The stronger we become’ at the 58th Venice Biennale in 2019.
Basia Sliwinska
Basia Sliwinska is an art historian and theorist. She currently works as a Researcher at the Institute of Art History of Universidade NOVA de Lisboa. Her work is situated within feminist art history, theory and practice, focusing on visual activism and artivism within transnational global frameworks. Her publications include: (co-edited with Dr Catherine Dormor) Transnational Belonging and Female Agency in the Arts (forthcoming 2022, Bloomsbury); (edited) Feminist Visual Activism and the Body (2021, Routledge); (co-edited with Dr Marco Bohr) The Evolution of the Image: Political Action and the Digital Self (2018, 2020, Routledge); The Female Body in the Looking-Glass: Contemporary Art, Aesthetics and Genderland (2016, 2018, IB Tauris).
Khadija von Zinnenburg Carroll
Khadija von Zinnenburg Carroll is an artist and historian, currently leading the project ‘REPATRIATES: Artistic Research in Museums and Communities in the process of Repatriation from Europe’ (ERC 2020–2025). She is Professor of History at the Central European University Vienna and Honorary Professor and Chair of Global Art at the University of Birmingham in the UK. Her films and installations have been shown internationally, including at the Venice, Marrakech and Sharjah Biennales, ZKM, Manifesta, Taxispalais, Extracity, HKW, Royal Museums Greenwich, Savvy, LUX, Chisenhale, SPACE, Project Art Centre Gallery Dublin, St Kilda, Melbourne, and the Casablanca Film Festival. She is the author of the books Art in the Time of Colony (2014); The Importance of Being Anachronistic (2016), Botanical Drift: Protagonists of the Invasive Herbarium (2017); Bordered Lives: Immigration Detention Archive (2020); Mit Fremden Federn: El Penacho und die Frage der Restitution (2021); and The Contested Crown: Repatriation Politics between Mexico and Europe (2022).