Khadija von Zinnenburg Carroll
Khadija von Zinnenburg Carroll is Professor of Global Art at Birmingham University. She works on colonial histories through contemporary art. She is currently working on a book entitled Fragile Crown: Empire, Collection, Restoration. Her monograph Art in the Time of Colony was published by Ashgate in 2014. Khadija joined the European Research Council project at Oxford University on ‘Subjectivity, Identity and Penal Power’ to create an Immigration Detention Archive.
TJ Demos is a Professor of History of Art and Visual Culture at University of California Santa Cruz. His published work centers broadly on the conjunction of art and politics, examining the ability of artistic practice to invent innovative and experimental strategies that challenge dominant social, political, and economic conventions. Demos is Director of the forthcoming Center for Creative Ecologies at UC Santa Cruz.
Angela Dimitrakaki is a writer and Senior Lecturer in Contemporary Art History and Theory at the University of Edinburgh, which she joined in September 2007. She is Programme Director of the MSc in Modern and Contemporary Art: History, Curating and Criticism and teaches undergraduate courses on art and its contexts since the 1960s, including on aesthetics, politics and globalisation, feminism and sexual politics.
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) and Future Imperfect: Contemporary Art Practices and Cultural Institutions in the Middle East (Sternberg Press, 2016). 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.
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 and curator who works out of Budapest and London. He is the co-founder of the Translocal Institute for Contemporary Art, a centre for transnational research into East European art and ecology based in Budapest that operates across the disciplinary boundaries of art history, contemporary art and ecological thought.
Ros Gray is a senior lecturer in Fine Art, Critical Studies at Goldsmiths University in London. She is currently working on a monograph entitled The Vanguard of the World: Filmmaking in the Mozambican Revolution.
Richard William Hill
Richard William Hill lives and works in Toronto and is a curator, critic and art historian of Cree heritage. His areas of interest and expertise include historical and contemporary art created by Indigenous North American artists. Hill has taught courses on Indigenous art history and contemporary art at York University since 2002. He is currently writing a book on the problem of agency in the art of Jimmie Durham, the subject of his PhD thesis.
Isaac Marrero-Guillamón is a lecturer at Goldsmiths University in London, where he also convenes the MA in Visual Anthropology. He interdisciplinary background in sociology, anthropology and visual studies. His work revolves mainly around two issues: the transformation of the post-industrial city and the articulation of new forms of collective action; and the politics of representation and experimental research methodologies.
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. She is the coordinator of Research Group CITCOM - Citizenship, Critical Cosmopolitanism, Modernity/ies, (Post)Colonialism and of the website ArtAfrica, both based at the Centre for Comparative Studies.