Charles Arsène-Henry is a writer and editor based in London. In 2009, he founded White Box Black Box, which inquires into the different formats of research and fiction. In 2010, he taught a unit at the Architectural Association Summer School where students produced a collective speculative fiction. In 2011, he curated “Translated By” with Shumon Basar. He’s been reading French literature for Faber and Faber since 2006.
Ariella Azoulay, Hermeneutics and Cultural Studies, Bar Ilan University
Director of Photo-Lexic, International Research Group, Minerva Center, Tel Aviv University
2010 Gladstein Visiting Professor, Human Rights Center, University of Connecticut
2011 Leverhulme Research Professor, Durham University.
Bassam el Baroni is a curator and art critic from Alexandria, Egypt. He is the co-founder and director of the non-profit art space Alexandria Contemporary Arts Forum and was co-curator of Manifesta 8, 2010 in Murcia, Spain. Recent exhibitions and engagements include the ongoing collaborative archive project The Arpanet Dialogues, started in 2010 with Jeremy Beaudry and Nav Haq; Trapped in Amber: Angst for a Re-enacted Decade, co-curated with Helga-Marie Nordby at UKS, Oslo, Norway in 2009; and Cleotronica 08, an international media art festival in Alexandria, 2008. Since 2009, el Baroni has developed and performed a series of dramatized context-specific lectures titled FOXP2, which combine notions of pre-history, genealogy, economics, and art criticism to create episodes of possible universalisms.
Roger Buergel was educated at the Academy of Fine Art in Vienna and Vienna University. He organized various exhibitions, often jointly with Ruth Noack, like “Things we don’t understand” (2000, Generali Foundation Vienna), a reappraisal of aesthetic autonomy, or “The Government” (2003-05, MACBA Barcelona, MAC Miami, Secession Vienna, and Witte de With Rotterdam), an exploration of contemporary governmentalities in Western societies. Buergel was the Artistic Director of documenta 12 (2007), after which he taught art history at the Art Academy Karlsruhe while organizing a retrospective of Ai Weiwei’s works in 2010 (“Barely Something,” Museum DKM Duisburg). He is currently working on a Museum of Global Trade Routes, due to open in Zurich in spring 2013.
Johanna Burton, appointed Director of the Graduate Program at CCS Bard in July 2010; New York–based art historian and critic, has written extensively on postwar and contemporary art for numerous publications, including Artforum, Parkett, and Texte zur Kunst; and she is the editor of Cindy Sherman (2006), a collection of critical essays on the artist for MIT Press’s October Files series. Burton’s other recent writings include texts on the women-only art magazine Eau de Cologne (published in Witness to Her Art, eds. Rhea Anastas and Michael Brenson, Center for Curatorial Studies, 2006) and Lee Lozano (on the occasion of the artist’s inclusion in an exhibition curated by Helen Molesworth at the Wexner Center in Columbus, Ohio, in Spring 2008); and she has written catalogue essays for recent career survey exhibitions of Dara Birnbaum, Mel Bochner, and Mary Heilmann. She was Associate Director and Senior Faculty Member at the Whitney Independent Study Program in New York from June 2008—July 2010.
Georges Didi-Huberman, Since 1990, Georges Didi-Huberman has been teaching as Maître de Conférences at the Centre d’Histoire et Théorie des Arts, part of the École des Hautes Études en Sciences Sociales (EHSS) in Paris. In his numerous publications, Didi-Huberman challenges art historical methodologies and opens them up to a theory and philosophy of the image that includes rigorous psychological queries pertaining to art and the gaze. He has also taught at Johns Hopkins University, Northwestern University, University of California, Berkeley, University of Tokyo, the Freie Universität Berlin, and the Courtauld Institute in London, and has curated several exhibitions, including “L’Empreinte” at the Centre Georges Pompidou Paris in 1997. In 1997 Didi-Huberman received the Hans-Reimer-Preis of the Aby Warburg Foundation (Hamburg), and in 2007 he received the Humboldt Award for research.
Tom Eccles is Executive Director of the Center for Curatorial Studies, Bard College and former Director of the Public Art Fund, New York (1997–2005). Since joining CCS Bard in 2005, he has overseen the construction of the Hessel Museum of Art, which opened in November 2006, co-curated the inaugural exhibition of the Marieluise Hessel Collection, “Wrestle,” and has organized exhibitions with Martin Creed, (2007), Keith Edmier (2008), Rachel Harrison (2009), and Josiah McElheny (2011). In 2005, he organized the U.S. version of “Uncertain Sates of America” at CCS Bard. He also commissioned the permanent installation of Olafur Eliasson’s The parliament of reality on the grounds of Bard College (2009). Also in 2009, he curated Ernesto Neto’s anthropodino at the Park Avenue Armory and “As Long As It Lasts,” a group exhibition at Marian Goodman Gallery (both in New York).
Michel Feher is a philosopher, founding editor of Zone Books, NY, and president of Cette France-là, Paris. He is the author of Powerless by Design: The Age of the International Community (2000) and the co-editor of Nongovernmental Politics (2007), with Gaëlle Krikorian and Yates McKee. He most recently co-authored and edited cette France-là 1, 06-05-2007/30-06-2008, and cette France-là 2, 01-07-2008/30-06-2009.
Hal Foster, Townsend Martin ’17 Professor of Art and Archaeology, came to Princeton in 1997. He teaches lecture and seminar courses in modernist and contemporary art and theory; he also directs the graduate proseminar in methodology. Foster is an associate member of the School of Architecture and the Department of German; he also works with the programs of Media and Modernity and European Cultural Studies. Recent books include Art Since 1900 (2005), a co-authored textbook on 20th-century art; Prosthetic Gods (2004), concerning the relation between modernism and psychoanalysis; and Design and Crime (2002), on problems in contemporary art, architecture, and design. His book, Figment: Painting and Subjectivity in the First Pop Age, is due out in 2011, to be followed by Image Building: Essays on the Art-Architecture Rapport. He is presently at work on a theory of modernism as a way (in the words of Walter Benjamin) “to outlive culture, if need be.” A member of the American Academy of Arts and Sciences, Foster continues to write regularly for October (which he co-edits), Artforum, and The London Review of Books.
Anselm Franke is a curator and critic based in Berlin and Brussels. Until the end of 2010, he was the Director of Extra City Kunsthal Antwerp, where he curated exhibitions such as “No Matter How Bright the Light, the Crossing Occurs At Night” (2007), “Mimétisme” (2008), and “Sergei Eisenstein: The Mexican Drawings” (2009). In 2008, he was a co-curator of Manifesta 7 in Trento, Italy, and a co-curator of the 1st Brussels Biennale. His long-term project “Animism” started in Antwerpen (Extra City and MuHKA Antwerpen) and Kunsthalle Bern in 2010, and will be shown in different versions in the Generali Foundation in Vienna (September 2011) and the Haus der Kulturen der Welt in Berlin (March 2012). Since 2011, Anselm Franke is responsible for the theory program at the Higher Institute for Fine Arts (HISK) in Ghent; and he teaches at the HfG Karlsruhe, among others. He currently completes his PhD at the Center for Research Architecture/Visual Cultures at Goldsmiths College, University of London.
Dominique Gonzalez-Foerster, Born in 1965 in Strasbourg, Dominique Gonzalez-Foerster is a French artist working with video and installations, and was the recipient of the Marcel Duchamp Prize in 2002. She lives and works in Paris and Rio de Janeiro. Gonzalez-Foerster’s work was first exhibited in Britain in the 1992 group exhibition “Exhibit A,” which took place at the Serpentine Gallery in London. In 1994 she was included in the group exhibition “The Winter of Love” at the Musée d’Art Moderne de la Ville de Paris and in “Traffic” (March 1996, the CAPC), curated by Nicolas Bourriaud. In 2006 her work was included in the São Paulo Bienal and in 2008, she produced an installation for the Tate Modern turbine hall called TH.2058—the title an acronym for “Turbine Hall [in the year] 2058,” i.e., fifty years in the future. On 14 April 2011, Gonzalez-Foerster created a large-scale performance at the Guggenheim Museum, New York, titled, “2011.T.1912.”
Denis Hollier. Literary scholar, professor of French at NYU. Published Against Architecture: The Writings of Georges Bataille (October, The MIT Press), The Politics of Prose: Essays on Jean-Paul Sartre (University of Minnesota Press), and Absent without Leave: French Literature in Front of Threat of War (Harvard University Press).
Sandi Hilal is an architect based in Bethlehem. She is consultant with the UNRWA on the camp improvement program and visiting professor at Al-Quds/Bard University in Abu Dis-Jerusalem. She is a founder member of DAAR—Decolonizing Architecture Art Residency. In 2006, she obtained the title of research doctorate in transborder policies for daily life in the University of Trieste. She is a co-author of different research projects published and exhibited internationally: “Stateless Nation,” with Alessandro Petti and “Border devices,” with multiplicity. Her publications include Senza Stato una Nazione (Marsilio, Venezia 2003); “Living Among the Dead” (Domus 880, April 2005); “Road Map” (Equilibri, August 2004), la stanza dei sogni (Liguori Editore, 2004); and “Stateless Nation” (Archis, Preview # 4 2003). Her projects have been published in national and international newspapers and magazines, such as the New York Times, The Guardian, Il Manifesto, Al Ayyam, Al-Quds, Artforum, and Archis.
Thomas Keenan teaches human rights, literature, and media theory at Bard College, where he is Associate Professor of Comparative Literature and Director of the Human Rights Project. He is the author of Fables of Responsibility: Aberrations and Predicaments in Ethics and Politics (Stanford University Press, 1997), and co-edited The End(s) of the Museum (Barcelona, 1996), New Media, Old Media (Routledge, 2005), and Thinking in Dark Times (Fordham University Press, 2009). His forthcoming book, about media, conflict, and human rights, is called Live Feed: Crisis, Intervention, Media. He has served on the boards of the Soros Documentary Fund, WITNESS, the Journal of Human Rights, the Crimes of War Project, and Scholars at Risk.
Alex Klein is an artist working between Los Angeles and Philadelphia, where she was recently appointed Program Curator at the ICA Philadelphia, University of Pennsylvania. She is a co-founder of Oslo Editions, which organized and published the lecture series CONTRA MUNDUM I-VII (2010) and in 2009 she edited the critical volume on photography Words Without Pictures (LACMA / Aperture, 2010). She has been a visiting lecturer at the USC Roski School of Fine Arts, UCLA, and Otis College of Art and Design and has held positions at the Los Angeles County Museum of Art and The Metropolitan Museum of Art, New York. She received her MFA from UCLA and her MA in the History of Art from the Courtauld Institute of Art, London.
Suhail Malik is Reader in Critical Studies at Goldsmiths, London. Recent writings include: “Why Art? The Primacy of Audience,” Global Art Forum, Dubai (2011); “The Wrong of Contemporary Art: Aesthetics and Political Indeterminacy” (with Andrea Phillips) in Reading Rancière (2011); “Screw (Down) The Debt: Neoliberalism and the Politics of Austerity” in Mute (2010); “You Are Here” for Manifesta 8 (2010); “Civil Society Must Be, Like, Totally Destroyed” in Sanity Assassin (2010); and “Abu Ghraib and the Onto-Politics of the Spectacle” in Episode (2008).
Marion von Osten works as an artist, author, and curator. The main interests of her projects are the changed conditions of the production of cultural work in post-colonial societies, technologies of the self and the governance of mobility. Since 2006, she has been a professor at the Academy of Fine Arts Vienna. From 1999–2006, she was professor for artistic practice at HGK Zurich and researcher at the Institute for the Theory of Art and Design and Institute for Cultural and Gender Studies, HGK Zurich, and lecturer at critical studies program at the Malmö Art Academy. From 1996–1998, she was curator at Shedalle Zurich. Publications include Das Erziehungsbild. Zur visuellen Kultur des Pädagogischen (edited with Tom Holert, Vienna, 2010); Colonial Modern. Aesthetics of the Past. Rebellions for the Future (edited with Tom Avermaete and Serhat Karakayali, London 2010); Projekt Migration (edited with Aytac Erylmaz, Martin Rapp, Regina Römhild, and Kathrin Rhomberg, Köln 2005); Norm der Abweichung, T:G 04 (Zurich/Vienna, 2003); MoneyNations (edited with Peter Spillmann, Vienna, 2003); and Das Phantom sucht seinen Mörder. Ein Reader zur Kulturalisierung der Ökonomie (edited with Justin Hoffmann, Berlin, 1999).
Alessandro Petti is an Architect, Urbanist and Researcher based in Bethlehem. He teaches at Honors College Al-Quds/Bard University in Abu Dis-Jerusalem, Director of the research office DAAR—Decolonizing Architecture Art Residency. He is involve with Sandi Hilal and Eyal Weyzman in the research project Decolonizing Architecture, a project that explores the problems and potentiality associated with re-use, re-inhabitation, and subversion of colonial structures. In 2010, they won the Price Claus Prize for Architecture and were shortlisted for the Chrnikov Prize. In 2006, he obtained the title of Research Doctorate in Urbanism at the IUAV University of Venice under the supervision of Prof. Giorgio Agamben. Petti has written on the emerging spatial order dictated by the paradigm of security and control in Arcipelaghi e enclave (Archipelagos and enclaves, Bruno Mondadori, Milan, 2007). He co-curated different research projects on the contemporary urban condition such as “Border devices” (2002–2007), with multiplicity, and “Stateless Nation” with Sandi Hilal (2002–2007), see www.statelessnation.org. His recent publications are: “Return to Nature” in Ecological Urbanism, Lars Muller Publishers, May 2010; “Asymmetries” in State of exception and Resistance in the Arab World (Arab Unity Studies 2010); “Future Archaeology” (Afterall, February 2009); “Dubai Offshore Urbanism” in Heterotopia and the City (Routledge, 2008); and “Temporary Zones. Alternative Spaces or Territories of Social-spatial Control?” in Post-it City (CCCB 2008).
Katya Sander is a conceptual artist, working especially with architecture, interventions, text, and films that explore the influence of the imaginary on political issues, everyday life, and language. For Sander, the imaginary is not only subjective ideas, but also shared, collective articulations and projections of what is possible and what can be imagined. Architecture and language and their roles in the production of meaning and sociality thus play a central role. Often through specific notions or figures, Sander investigates how social imaginations are constructed, and how they influence our actions and reflections. Especially production of spectatorship and consumption—and thus issues of gaze, desire, address, and projection—in contemporary society is of interest for Sander. Sander’s method combines factual information and real actions placed in various levels of stagings or settings, as well as the opposite: performed actions or interventions carried out in the framework of everyday spaces, activities, and functions—often not art-spaces. Sander thus inquires into relations between the narrative and the real, questioning how political subjectivity comes into being.
Eyal Sivan was born in 1964 in Haifa, Israel and grew up in Jerusalem. Sivan is currently Reader (associate professor) in media production and co-leading the MA program in Film, video and new media at the School of Humanities and Social Sciences, at the University of East London (UEL). After working as a professional photographer in Tel-Aviv, Sivan left Israel in 1985 and settled in Paris. Since then he splits his time between Europe and Israel. Known for his controversial films, Sivan directed more than ten worldwide awarded political documentaries and produced many others. His cinematographic body of work was shown and awarded various prizes in prestigious festivals. Beside worldwide theatrical releases and television broadcasts, Sivan’s films are regularly exhibited in major exhibitions around the world. He publishes and lectures on the Israeli-Palestinian conflict, documentary filmmaking and ethics, political crimes and representation, political use of memory, genocide and representation, and so forth. Sivan is the founder and artistic director of the Paris-based documentary film production company momento! and the film distribution agency Scalpel. He is the founder and Chief Editor of South Cinema Notebooks—a journal of cinema and political critique edited by the Sapir Academic College in Israel, where he lectures regularly. He is a member of the editorial board of the Paris-based publishing house La Fabrique, as well as of the French social and political studies journal De l’Autre Côté.
Hito Steyerl lives and works in Berlin as a documentary filmmaker and author. In addition to philosophy, she studied cinematography and documentary filmmaking at the Academy of Visual Arts, Tokyo, and the Munich Academy of Television and Film. She has published essays concerning questions of (cultural) globalization, urbanism, racism, and nationalism. Other research interests include political theory, global feminism, and migration. Her latest book is Die Farbe der Wahreit [The Color of Truth], 2006.
Eyal Weizman is an architect; Director of the Centre for Research Architecture at Goldsmiths, University of London, and of the ERC-funded research project Forensic Architecture. Since 2007, he is a founding member of the architectural collective DAAR in Beit Sahour/Palestine. Weizman has taught, lectured, curated, and organized conferences in many institutions worldwide. His books include The Least of all Possible Evils (Nottetempo 2009, Verso 2011), Hollow Land (Verso, 2007), A Civilian Occupation (Verso, 2003), the series Territories 1,2, and 3, Yellow Rhythms, and many articles in journals, magazines, and edited books. Weizman is a regular contributor and an editorial board member for several journals and magazines including Humanity, Cabinet, and Inflexions. He has worked with a variety of NGOs worldwide and was member of B’Tselem’s board of directors. Weizman is the recipient of the James Stirling Memorial Lecture Prize for 2006–2007, a co-recipient of the 2010 Prince Claus Prize for Architecture (for DAAR), and has been nominated to deliver the Paul Hirst and the Edward Said Memorial Lectures amongst others. He studied architecture at the Architectural Association in London and completed his PhD at the London Consortium/Birkbeck College.
Tirdad Zolghadr is Senior Academic Adviser and the LUMA Foundation Fellow at the Center for Curatorial Studies, Bard College. Curatorial work includes the Taipei Biennial 2010 with Hongjohn Lin, the UAE Pavilion, Venice Biennale 09, “Lapdogs of the Bourgeoisie” with Nav Haq, and the Sharjah Biennial 05 with Jack Persekian & Ken Lum. He writes for frieze magazine and is author of “Solution 168-185” and editor of Necessities (both Sternberg Press, 2010). His novel Softcore was published in 2007 (Telegram Books, transl. German, Italian), the working title of his second novel is Top Ten. Zolghadr is a curatorial advisor to the Artist Pension Trust and editor-at-large for Cabinet magazine.