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Monika Bakke Associate professor of philosophy at the Adam Mickiewicz University, Poznan, Poland. She writes on contemporary art and aesthetics, with a particular focus on posthumanist, gender and cross-species perspectives. The author of two books: Bio-transfigurations: Art and Aesthetics of Posthumanism (2010, in Polish) and Open Body (2000, in Polish), co-author of Pleroma: Art in Search of Fullness (1998), and editor of Australian Aboriginal Aesthetics (2004, in Polish), Going Aerial: Air, Art, Architecture (2006) and The Life od Air: Dwelling, Communicating, Manipulating (2011). From 2001 till 2016 she was an editor of the Polish cultural journal CzasKultury (Time of Culture).
Ágnes Bakk was born in Lugoj, Romania, 1986. She graduated from Theatre Studies and Hungarian-Finnish Department of Babes-Bolyai University, Cluj, Romania, and later had her MA degree in Theatre Studies at Károli Gáspár University, Budapest, Hungary. Currently she works at the Hungarian National Digital Archive as an editor, having her focus on digitization, new technologies and online platforms in theatres and museums. She has been the project manager at several companies and institutions: Jurányi Art Incubator House, Góbi Dance Company, the Natural Art Disasters Company, Verzio Human Rights Documentary Film Festival, Moholy-Nagy University of Art and Design, Budapest. Since 2014 she is the co-organizer of The Eye of the Needle Festival (Tű Fokán Fesztivál) and she is also the co-founder of The Eye of the Needle Foundation (Tű Fokán Alapítvány). In 2015 she was member of the organizing committee of IETM Budapest meeting. She is the founder of the performing arts&new technologies blog: zip-scene.com and she is currently a PHD fellow at Moholy-Nagy Art and Design University in Budapest, Hungary.
Khadija von Zinnenburg Carroll is an Austrian-Australian artist and historian based in London and as Professor of Global Art at the University of Birmingham. Her installations and texts have been exhibited at the Venice Biennale, Institute of Contemporary Art London, PestaBonka Festival Indonesia, Konzerttheatre Bern, and the Marrakech Biennale. She is the author of the book Art in the Time of Colony, and related exhibitions include Ore Black Ore in the Allegory of the Cave Painting at Extracity; Investigated at Savvy Contemporary Berlin; Artists in Residence at the Pitt Rivers; Embassy Embassy at Haus der Kulturen der Welt Berlin.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 a regular contributor to Art Monthly Australasia. and has been the curator of various international exhibitions including Julie Gough: The Lost World (Part 2).
Christiane Erharter is a curator and project manager based in Vienna. She graduated from the Academy of Fine Arts Vienna and holds a postgraduate degree in Critical Studies from the University of Lund. She has worked at the Office for Contemporary Art Norway in Oslo and at the Galerie im Taxispalais in Innsbruck. Since 2006 she is working for ERSTE Foundation, conceptualizing and curating exhibitions, such as “Anna Jermolaewa: Good Times, Bad Times,” (Zachęta National Gallery in Warsaw and WrocławArt Center, 2015); “AT YOUR SERVICE – ART AND LABOUR” (Technisches Museum Wien, 2012; Tehnički muzej Zagreb, 2014); “Gender Check – Femininity and Masculinity in the Art of Eastern Europe” (MUMOK, Vienna, 2009). Her research areas include (pop) music, visual art, and feminism. In 2012 she co-curated the exhibition “Rosa Arbeit auf Goldener Straße” on Queer Art Practices; an English speaking publication entitled “Pink Labor on Golden Streets” was published in 2015 with Sternberg Press, Berlin.
Isabel Hoving is Chief Diversity Officer at Leiden University. She is also associate professor at the Department of Film and Literary Studies and the Leiden University Centre for the Arts in Society, where she specializes in gender studies, interculturality, the environmental humanities, and, lately, games studies. Her publications include a study on Caribbean migrant women writers, In Praise of New Travellers (Stanford UP, 2001), co-edited books on (Dutch) migration, Caribbean literatures, African literature and art; an edited volume,Dutch Racism,with Philomena Essed(Rodopi, 2014), (as co-author) a book on Dutch literary writing on multiculturality (ACCO, 2015), and Writing the Earth, Darkly: Globalization, Ecocriticism, and Desire(Lexington Books, 2017). She is member of the editorial boards of Thamyris/ Intersecting: Place, Sex, and Race; Ecocritical Theory and Practice;Ecozon@: the European Journal on Literature, Culture and the Environment;and StudienzuLiteratur, Kultur und Umwelt / Studies in Literature, Culture, and the Environment.In 2012, she launched the Benelux Association for the Study of Literature, Culture, and Environment, BASCE.In addition to her academic work, she is an awarded writer of cross-over and adult philosophical fantasy.
Adéla Kremplová graduated from the Academy of Art, Architecture and Design in Prague with a Bachelor’s in Photography, and from the University of Edinburgh in Scotland with a Master’s in Environment, Culture and Society. Last summer she co-curated an exhibition of Mark Dorf in the Glasshouse of the Albertov Botanical Garden in Prague, as a part of Cultura/Natura themed photography festival (Fotograf festival 2016). Her interest in environmental aesthetics; visual representations, temporality of photography; photographic memoryand photographic reality reflects both, in her theoretical and photographical practice. Currently, she is a member of grant project: Josef Sudek and Photographic Documentation of Works of Art: From a Private Art Archive to Representing a Cultural Heritage at the Institute of Art History in Prague.
Elizabeth Loudon is earning her M.S. in the Environmental Science and Policy at Central European University. She has taught environmental education to at-risk youth in Florida, and to college students via a conversation skills course in Nablus, Palestine. She graduated Magna Cum Laude from Stetson University in 2015, where she majored in Environmental Studies and Geography. Her social change advocacy was recognized in 2015 when she was awarded the Maldonado Selfless Service Award, and the June Brooks Award for Activism. In recognition of the need for creativeyouth education that is mindful of the human-environment relationship, she designed an eco-justice unit for pre-teens that incorporated art activities. Elizabeth's concentration is focused on how to nurture the development of environmental ethics when plants are widely considered objects, and students feel alienated from the natural world. Elizabeth is also continuing her work by designing/researching innovative ways to communicate about the nature.
Christine Mackey is a studio-based artist at the Leitrim Sculpture Centre who graduated from the University of Ulster, Belfast with a Practice-based PhD in 2012. She employs a diverse range of creative disciplines, subject matter and tactics to explore the interactive potential of art as a research and pedagogical tool that informs social and environmental change. Mackey has participated on a range of international and national residency/exhibition programmes including: The Observatory, SPUD UK (2017), As Above So Below, ACA, Allenheads/MigAA, Berlin (2016); Delfina Foundation, London; Agora Collective, Berlin and Utopiana Genève, Switzerland (2015). Recent solo exhibitions include Provisional AC Institute, New York (2015) and SEED MATTER, Limerick City Gallery of Art (2013). Mackey has been in receipt of Individual Artists Bursary Awards from the Arts Council of Ireland, Leitrim County Council and Culture Ireland and was recently awarded a Fulbright Research Scholars Award (2017-2018).
Michael Marderis Ikerbasque Research Professor of Philosophy at the University of the Basque Country, Spain, and Professor-at-Large at the Humanities Institute of Diego Portales University, Chile. An author of eleven books and over a hundred academic articles, he is a specialist in phenomenology, political philosophy, and environmental thought. His most recent monographs include The Philosopher’s Plant: An Intellectual Herbarium (2014); Pyropolitics: When the World Is Ablaze (2015); Dust (2016); Grafts (2016); with Luce Irigaray, Through Vegetal Being (2016); and Energy Dreams: Of Actuality (2017). His website is www.michaelmarder.org
Uriel Orlow is an artist and researcher based in London and Zurich. He is Visiting Professor at the Royal College of Art London, Principal Research Fellow/Reader at University of Westminster, London and Lecturer at the University of the Arts, Zurich. Orlow’s practice is research-based, process-oriented and multi-disciplinary including film, photography, drawing and sound. He is known for single screen film works, lecture performances and modular, multi-media installations that focus on specific locations and micro-histories and bring different image-regimes and narrative modes into correspondence. His work is concerned with spatial manifestations of memory, blind spots of representation and forms of haunting. Orlow has published essays in the MIT/Whitechapel Documents of Art series, in the Moving Image Review Journal (MIRAJ) and has contributed to many other publications including the Handbook for Artistic Research (diaphanes, 2015), Radical/Ambivalent (diaphanes, 2014), All This Stuff-Archiving and the Artist (Libri, 2013). Solo exhibitions include The Showroom, London; Castello di Rivoli, Turin; John Hansard Gallery, Southampton; CCS Paris; Al-Ma'mal Foundation, Jerusalem; Depo, Istanbul; Centre PasquArt Biel; Spike Island, Bristol; Les Complices*, Zurich; Centre PasquArt, Bienne; Prefix ICA, Toronto. Orlow’s work was presented at survey exhibitions including the 54th Venice Biennale, Manifesta 9, Sharjah Biennial (2017), EVA International (2016, 2014), Edinburgh Art Festival, Recent British Artists Film and Video at Tate Britain, London (2015), Bergen Assembly and Aichi Triennale (2013); 8th Mercosul Biennial, Brazil (both 2011); 3rd Guangzhou Triennale.
Bence György Pálinkás
Špela Petrič is a Slovenian new media artist and former scientific researcher currently based between Ljubljana, SI and Amsterdam, NL. Her practice is a multi-species collaborative endeavor, adeviant composite of natural sciences, wet media and performance. She tries to envision artistic experiments that enact strange relationalities in hopes of enriching our adjacent possible. Much of her recent work has focused on plant life. Festivals and exhibitions: Abandon Normal Devices (UK), TodaysArt (NL), Zone2Source (NL), Venice Biennial of Architecture (IT), Touch Me Festival (CRO), Pixxelpoint (IT), European Conference on Artificial Life (IT), Playaround (TW), Harvard (ZDA), Ars Electronica (AT), National Center for Biological Sciences (IN), HAIP (SI), Galleries de la Reine (BE) Website: spelapetric.org
Tatiana Safonova Candidate of Social Sciences, 2009, Saint Petersburg State University. Currently I am a PhD student at the Department of Sociology and Social Anthropology, CEU, and my research topic is devoted to political and social implications of contemporary gardening practices in Hungarian countryside. For more than 10 years I worked as a researcher at the Centre for Independent Social Research, Saint-Petersburg. I hold MPhil degree in Social Anthropology, Cambridge University. I have published articles on the problems of natural and cultural conservation in post-Soviet Russia, the anthropology of Siberia, and modern hunter-gathering lifestyles.
Åsa Sonjasdotter gathers stories from entanglements of people and plants. In her practice, she brings about processes of co-species knowledge, memory, loss and prospect through the cultivation of plants, imagery and stories. Sonjasdotter is a founding member of The Neighbourhood Academy, a bottom up learning site and a branch of Prinzessinnengarten, an urban garden in Berlin, Germany. From 2014 she is a research student at Goldsmiths, the University of London, UK.She has been professor at Tromsø Academy of Contemporary Art in Tromsø, Norway, an institution she took part of establishing in 2007. From 1996 to 2006 Sonjasdotter was a founding member of the Danish feminist art- and action group Kvinder på Værtshus (Women Down the Pub). Sonjasdotter has studied at The Royal Danish Academy of Fine Arts in Copenhagen and at Trondheim Academy of Fine Art in Norway. She has been awarded the COAL prize for environmental art in France by the French Ministries of Culture and Communication and Ecology and Sustainable Development in 2014. The Danish Art Foundation has awarded her for the piece The Order of Potato in 2009
Stefan Voicu, I am a PhD candidate at the Central European University working on a thesis about the financialization of agriculture in the Black Sea region. Currently I am also involved in two other projects in Romania. First, as part of a research team I am surveying and critically assessing the forest and pasture commons' impact on rural livelihoods and mountain ecologies in the Carpathian Mountains. Second, I recently began collaborating on a documentary film covering the political economic intricacies of becoming a household producer of solar power. I have previously graduated from a BSc in Sociology from the University of Bucharest, a MSc in Social and Cultural Anthropology from KU Leuven and a MA in Sociology and Social Anthropology from Central European University. My interests range from contemporary art and culture to economic anthropology and political ecology in (post-)socialist contexts.
Alan Watt is a lecturer at the Department of Environmental Sciences and Policy, Central European University, where he teaches on environmental thought and environmental philosophy. His background is in post-Kantian continental philosophy (particularly the philosophy of Nietzsche), and he has a strong research interest in the intersections between continental philosophy and environmentalism. Along with Maja and Reuben Fowkes of the Translocal Institute he organized the long-running symposium and seminar series at CEU on the theme of Sustainability and Contemporary Art. Since 2015 he has been (along with Translocal and CEU faculty Guntra Aistara and Hyaesin Yoon) co-ordinating CEU’s Environmental Arts and Humanities Initiative, which promotes a range of activities in this field and is the organiser of the Vegetal Mediations conference.
Bo Zheng (born in Beijing, 1974) lives and works in Hong Kong) is an artist, writer, and teacher, committed to socially and ecologically engaged art. He investigates the past and imagines the future from the perspectives of marginalized communities and marginalized plants. He has worked with a number of museums and art spaces in Asia and Europe, most recently Cass Sculpture Foundation (Chichester, UK), TheCube Project Space (Taipei), and Villa Vassilieff (Paris).
Monika Bakke, Ágnes Bakk, Adéla Kremplová, Khadija von Zinnenberg Carroll, Christiane Erharter, Isabel Hoving, Adéla Kremplová, Chonja Lee, Elizabeth Loudon, Christine Mackey, Michael Marder, Uriel Orlow, Sendy Osmičević, Bence György Pálinkás, Špela Petrič, Tatiana Safonova, Åsa Sonjasdotter, Lea Vene, Patrícia Vieira, Stefan Voicu, Alan Watt, Bo Zheng