Cihat Arinc

Born Kayseri, Turkey, 1981. Art director and project specialist at Kultur Co., Istanbul Metropolitan Municipality (2006-). Instructor of philosophical aesthetics and board member at the Center for Fine Arts and Art Studies, Foundation for Sciences and Arts, Istanbul (2006-). BA Media and Film Studies, Istanbul University (2003); MA Philosophy, Bogazici University (2008), thesis title “Against Historicism and Aestheticism: Walter Benjamin’s Critical Philosophy of Film” co-supervised by Zeynep Davran and Yildiz Silier. Published in journals including Cogito and Divan Journal of Interdisciplinary Studies. Contributed to talks, panels, colloquia and international conferences including at University of Birmingham (UK), University of Kentucky (USA), Ege University (Turkey), Foundation for Sciences and Arts (Turkey).

Research project title: Digitized Heterotopia: A Phenomenology of Contemporary Museum Space; philosophical aesthetics, phenomenology of art, epistemology of the visual arts, critical theory, postdigital conception of space-time, museology and curatorial studies, psychoanalytic film theory, contemporary art practices, contemporary Islamic arts, Middle Eastern visual cultures.

Pascal Beausse

Pascal Beausse is an Art Critic. He is Curator of Photographic Collections at CNAP, Centre National des Arts Plastiques, Paris. He is Guest Lecturer at HEAD, University of Arts and Design, Geneva.
He studied Art History at Université François Rabelais, Tours, and Université Panthéon-Sorbonne, Paris.

He has been a correspondent in Paris for "Flash Art" since 1998.
He wrote several essays, articles and interviews, about the work of Maria Thereza Alves, Jimmie Durham, Teresa Margolles, Allan Sekula, Bruno Serralongue, Wang Du, among others.

Interests: Self-Media, Critical Realism, Poetics & Politics, Ecosophy.
Subject of his research: The Artist as Ecosopher.

Jenny Doussan

Visiting Tutor and PhD candidate, department of Visual Cultures at Goldsmiths, University of London ; MA History of the Decorative Arts & Design, Parsons, New School University(2002); BA cum laude Studio Art, Loyola University New Orleans (1999); Assistant Vice
President, Neuberger Berman Art Collection, New York City (2003-2006). Recent publications include “Recuperating the Platonic Idea,” in Desperately Seeking Authenticity: Interdisciplinary Approaches. Copenhagen: Copenhagen Doctoral School Press, 2010.

Interests: Her research interests are aesthetics, metaphysics, and material culture and its history.

Janna Graham

Janna Graham is a writer, organiser, educator and curator. Working with the collectives Ultra-red and Micropolitics Research Group, she participates in ongoing militant research projects on the conditions of cultural workers in London and pedagogies of anti-racism in England's rural areas. She has developed education and curatorial initiatives at institutions including the Art Gallery of Ontario (Toronto), Project Art Centre (Dublin), Vanabbemuseum (Eindhoven) and Plymouth Arts Centre (UK). Janna is currently Projects Curator at Serpentine Gallery where she and colleagues have initiated The Centre for Possible Studies, an off-site popular research centre and and artist residency programme where artists, thinkers and local people develop 'possible studies' in relation to the Edgware Road neighbourhood of London. She is a Phd candidate in Curatorial Knowledge programme at Goldsmiths University, working on a project titled: Thinking with Conditions, which investigates the cross sections between contemporary art, radical education and institutional analysis.

Interests: Experimenting with modes of public participation, knowledge formation and instituent mischief, her current investigations explore the acoustics of administration, participatory organizing methods and radical relationship-making.

Anshuman Das Gupta

Anshuman Dasgupta is an Art Historian, Critic and Curator, teaching at the Department of Art History in Santiniketan since 1997. He did his Bachelors in Art History from Santiniketan, Masters from Baroda and Film Appreciation from F.T.I.I. Pune. Dasgupta’s theoretical interests cover Visual Cultures and Cinema.

He has contributed extensively to publications like Marg, MuHKA, de Appel, Verlag Berlin, Nandan, Lalit Kala Contemporary, Art India and presented papers at a range of academic seminars including more recently, Hyderabad Central University seminar on Spectatorship, Periferry seminar organised by Khoj and Desire Machine, Global Art and the Museum- seminar at Max Muller Bhavan.

He was part of international curatorial conference Berlin Biennial 2006; organizer- Khoj Kolkata 2006, critic in the International Workshop; organizer- Ramkinker Baij International Seminar, 2007. He has curated shows in India and abroad.

Interests: The politics of process in the formation of subject/agent in specific locations. For me this doesn’t exclude the translocated or dislocated beings but rather my projects/conceptions are sensitive and interested in those otherings. My idea is to work towards a curatorial venture that may be called conceptual/interactive, or collaborative, with a view to exploring the shared episteme in the process of the subject formation.

Hyunjin Kim

Born in Hongseong in 1975, Hyunjin Kim lives and works in Seoul as a curator and writer. She studied art theory and critical studies, and has worked as an Assistant Curator at the Artsonje Center in Seoul, as a Guest Curator at the Vanabbe Museum in Eindhoven, and as a Curatorial Assistant at the 2005 Istanbul Biennial. Besides her own independent projects and exhibitions, she is currently working for IASmedia program of Insa Art Space as an Associate Curator. From her previous exhibitions, such as Reality Bites (Loop, Seoul, 2002), Where is My Friend's Home (Test Site, Rooseum, 2003), Steaming Away from the Places (Sangmyung Gallery, 2004), Plug-In #03: Undeclared Crowd (Vanabbe Museum, 2006), lasting practices have been inspired by her existential thinking on being and by ethical consideration in different modes of practices in contemporary art.

Interests: The politics of subject in the context of the individual being and its position as the other. I have been drawn to the notion of a community with impractical solidarity but sincere, imaginative responsibility among individual beings. What I assume with these conditions of community would be discussed with Jean-Luc Nancy's "inoperative community" and Maurice Blanchot's "unavowable community."

Doreen Mende (PhD, completed 2014)

Born in East Germany in 1976. Diploma in Music from the University of Music and Theatre in Leipzig. Studies in Electro-Acoustic Music at the Sibelius Akatemia in Helsinki. Education Programme of Documenta11 and 3rd Berlin Biennale. Assistant Curator of Shrinking Cities (KW Institute for Contemporary Art , Berlin 2004), Get Rid of Yourself (Halle 14, Leipzig 2003). Assistant to How Architecture Can Think Socially (symposium, Halle 14, 2002) and Shrinking Cities Music (Palast der Republik, Berlin 2004). Curator of What If ... #2 (JET, Berlin 2005), Ear Appeal (Kunsthalle Exnergasse, Wien 2006), Not Right But Wrong (JET, Berlin 2007), LOGE (performance/installation series at General Public, Berlin). Doreen Mende has been editing publications in connection with the projects above and texts published in von hundert, Texte zur Kunst, C Magazine. Since 2006, assistant professor in Exhibition Design and Curatorial Practice programme at the University of Media Art and Design in Karlsruhe (HfG). Editor-in-Chief of the publication series DISPLAYER, published by HfG. Co-founder of the collective/project space General Public.

Interests: An exhibition is shaped by a multitude of contexts. Thinking about an exhibition means thinking about its contexts. What is seen when we enter an exhibition? Or to put it another way; what is not seen, and why? How is knowledge shaped and visibility activated? What does a presentation present and represent in an exhibition? How, Where and Why is a piece of art displayed?

Ji Yoon Moon (PhD, completed 2016)

Ji Yoon was born in 1978 in Seoul, Korea. As a curator and writer, she lives and works in both Seoul and in London. She is currently a Ph.D candidate in the Curatorial/Knowledge Programme at Goldsmiths University, working with the notion of jester. The jester is a “professional fool” hired by the court, has access to speak directly to the King. However, the jester is not able to bring about any real change as he is only allowed to speak under a mask. Yet, it is this mask and its “eternal betrayal of representation” that has formulated the triggering question in the project; can the reflection on the ambivalence inherent in the figure of jester be translated as a strategy for cultural producers causing possible disturbances to the conventional operation of agency and the institutional demand of emancipating the “condemned spectator”?

She holds a M.A. in Curating Contemporary Art from the Royal College of Arts and a B.A. in History of Art from Cornell University. She has worked in various areas of art, architecture and performance projects, including exhibitions, public programs, seminars and publications at the Sonje Art Center, Anyang Public Art Project, Venice Architecture Biennale and Nam June Paik Art Center.

Interests: contemporary theatre; performance theory (the conventional dramatic discourses, the speech-act theory, the language-game theory); Jacques Rancière’s theatrical conception of politics.

Inês Moreira (PhD, completed 2014)

Inês Moreira is an architect, researcher and curator. Based in Porto where she was born in 1977. In her research and practice she has been experimenting collaborations between architecture, contemporary art and speculative/oblique research on contemporary culture. In the recent years, she is developing a curatorial research on space under the title “Performing Building Sites: curatorial research in/on space”. This research proposes a critical epistemology to the field of curatorial studies and embraces her professional experience has author/designer of spatial installations for art exhibitions.

She was recently appointed as Cultural Programmer of Architecture for the European Capital of Culture 2012, in Guimarães, Portugal, where she is Deputy Programmer for Art+Architecture. As curator/expert she has coordinated Laboratório de Arte Experimental of Instituto das Artes/Ministério da Cultura, Lisbon [2003-05]; co-founder of the independent art group Plano 21 Associação Cultural, and part of the team of Terminal Project [2005…]; founder of experimental curatorial project petit CABANON [2007…]; resident curator at Museo Extremeño Iberoamericano de Arte Contemporâneo in Badajoz, Spain [2007…]. Collaborates with the Culture Department of Universidade do Porto since 2006 where curates events and designs exhibitions [Depósito 2007, Pack 2007, Mapa 2007, Rescaldo e Ressonância! 2009]. Co-curator of the public gatherings of Evento2009, Public Art Biennial, Bordeaux, France. As researcher/teacher she has been collaborating with the Master of Art and Design for Public Space [FBAUP, Universidade do Porto], the Master in Museum Studies [FLUP, Universidade do Porto] and as a researcher of CITAR [Universidade Católica Portuguesa, Porto].

PhD candidate in Curatorial/Knowledge, Visual Cultures Department, Goldsmiths College, University of London with the financial support of Fundação para a Ciência e Tecnologia (PhD Scholarships). Master in Theory of Architecture and Urban Culture [UPC Barcelona, Spain 2003] with the financial support of Fundação para a Ciência e Tecnologia (Dissertation Scholarships). Graduted in Architecture [FAUP Porto, Portugal 2001].

Sarah Pierce

Since 2003, Sarah Pierce has used the term - The Metropolitan Complex - to describe her project. Despite its institutional resonance, this title does not signify an organisation. Instead, it demonstrates Pierce's broad understanding of cultural work, articulated through various working methods, involving papers, interviews, archives, talks and exhibitions. Characterized as a way to play with the hang-ups (read 'complex' in the Freudian sense) that surround cultural work, one emphasis is a shared neuroses of 'place', whether a specific locality or a wider set of circumstances that frame interaction. Central to her activity is a consideration of forms of gathering, both historical examples and those she initiates. The processes of research and presentation that Pierce undertakes highlight a continual renegotiation of the terms for making art: the potential for dissent and self-determination, the slippages between individual work and institutional context, and the proximity of past artworks.
I'm interested in how knowledge can rebel, not in opposition, but in spite of inheritances that form us. We are as much implicated by what we love as what we despise; how we enact these dependencies led to the project that I call The Metropolitan Complex.
- Sarah Pierce, Legacies in Art, De Appel, Amsterdam 2007.

Recent projects include: By now we share and affinity, Townhouse Cairo, 2010; The question would be the answer to the question 'Are you happy?', Van Abbemuseum, Eindhoven 2010 and Sala Rekalde, Bilbao, 2009, and An artwork in the third person, Project Arts Centre, Dublin 2009, all commissioned by If I Can't Dance I Don't Want to be Part of Your Revolution, Episode III; It's time man. It feels imminent, ICA London 2008; The Meaning of Greatness, Project Arts Centre 2006. Her work has been included in group exhibitions including: Feminist Legacies and Potentials, MuHKA Antwerp 2007; Left Pop, 2nd Moscow Biennale 2007, Coalecse, Redux London and SMART Amsterdam 2005 and 2009; and Romantic Detachment, PS1 New York 2004, a.o. In 2005 she was one of seven artists who represented Ireland at the 51st Venice Biennale. She regularly publishes The Metropolitan Complex Papers, and continues to collaborate with Annie Fletcher on the Paraeducation Department which began in 2004. Her published writing can be found in various texts including: Curating and the Educational Turn Open Editions, 2010; Re-inventing Radio, Kunstradio 2008; Curating Subjects, Open Editions 2007; Make Everything New, a project on communism, Book Works 2006; Looking Encountering Staging, Piet Zwart Institute 2005, Put About, a critical anthology on independent writing, Book Works 2005; Meanwhile Someplace Else, Sala Rekalde 2005; and Tracer 1 and 2, Witte de With 2004, a.o.

Interests: Archives; Community and the communal; Student work; Rebellion and knowledge; Gestural and affective "ways of knowing"; Conversation.

Joshua Simon (PhD, completed 2016)

(* 1979 in Tel Aviv-Jaffa, Israel) lives and works in Tel Aviv-Jaffa and London. Curator, filmmaker and editor. Co-founder and co-editor of Maayan Journal of poetry and literature and editor of Maarvon – New Film Magazine, and The New&Bad Art Magazine, all based in Tel Aviv-Jaffa. Graduate of the School of History at the Tel Aviv University. Currently on the Curatorial/Knowledge PhD program in the Visual Cultures department at Goldsmiths College/University of London. Among his curatorial projects: The Invisible Hand (2009), Internazionale! (2008) “Come to Israel: It’s Hot and Wet and We Have the Humus” (2008), The Rear – the First Herzliya Biennial of Contemporary Art (2007), Blanks (2005-2006) and Sharon (2004). He is the editor of the upcoming reader Palestine-Israel in the “Solution” series by Berlin based Sternberg Press (2010).

Authored/Edited Publications:
The Aesthetics of Terror, book based on censored exhibition co-curated in NYC, with essays by Boris Groys, Sven Lütticken, Eric Stryker, Manon Slome and Joshua Simon, Charta Publishers [Eng.] NYC and Milan 2009 [initiator and co-editor]
La-Tzet! (out!) - Poets Against the Attack on Gaza, Maayan & Etgar [Heb.] Tel Aviv-Jaffa 2008-9 [co-editor] [editions were published in Israel and in Beirut and Cairo [2009]
The Rear, The First Herzliya Biennial of Contemporary Art with essays by Irit Rogoff and Joshua Simon [Heb.+Eng.] 2007 [curator and editor]
Red: Poems of the Working Class, Maayan & Etgar [Heb.+Arab.] Tel Aviv-Jaffa 2007 [co-editor]
Blanks, with essays by Ariella Azoulay, Mijal Grinberg, Zvi Elhyani, Noam Yuran, Sergio Edelsztein and Joshua Simon, Center for Contemporary Art & Maayan [Heb.+Eng.] Tel Aviv-Jaffa 2005-6 [editor and co-curator]
Sea & Sun, flipbook-catalogue [Eng.] Israeli Pavilion at the Venice Architecture Biennale 2004 [editor]
Sharon, Teachers College of Technology & Free Academy Israel [Eng.+Heb.] Tel Aviv-Jaffa 2004 [author and curator]
I slept with Ari Libsker, The Free Academy Pavilion of Art [Eng.+Heb.] Tel Aviv-Jaffa 2001 [author and curator]
National Citizens - Poems, Shadurian Publishers [Heb.] Tel Aviv-Jaffa 2001 [author]
96 Elections - Roy Chicky Arad, Tal Esther Gallery [Heb.] Tel Aviv-Jaffa 2000 [author and curator]
Professionals - photographs: solo exhibition, Heinrich Böll Foundation [Heb.] Tel Aviv-Jaffa 2000 [artist and author]
National Citizens – Essays, Havkin Publishers [Heb.] Tel Aviv-Jaffa 1998 [author]

Interests: Marxist analysis, class warfare and potentiality, citizenry and Apartheid studies, histories of class struggles and de-colonization, the revolutionary, feminism, truth and labour regimes.

Roopesh Sitharan

Roopesh Sitharan is an educator, researcher, curator, and artist. His area of specialization is Malaysian art, New Media cultures and curatorial technologies. He often examines the boundaries of meaning and value in the production and interpretation of new media art.

Aneta Szylak

Co-founder and currently director of Wyspa Institute of Art - the intellectual environment for contemporary visual culture - in the former Gdansk Shipyard premises in Poland and Vice-President of the Wyspa Progress Foundation.
In 1998, Ms Szylak founded with Grzegorz Klaman the Laznia (Bathhouse) Centre for Contemporary Art and was its Director until spring 2001. Her exhibitions are characterised by a strong response towards the cultural, political, social, architectural and institutional specificity and include: „Estrangement“ (with Hiwa K) at The Showroom, London (2010), „Over and Over Again“ at The Centennial Hall, Wroclaw (2009), „Chosen“ in Digital Art Lab in Holon, Israel (with Galit Eilat), „Translate: The Impossible Collection“ at Wyspa (in 2008), Ewa Partum: The Legality of Space at Wyspa (2006) and a group show You won’t feel a thing: On Panic, Obsession, Rituality and Anaesthesia in Kunsthaus Dresden and Artur Zmijewski: Selected Works at Wyspa (all in 2006). Dockwatchers [2005, Wyspa], Palimpsest Museum [2004, I Lodz Biennale], Health & Safety [2004, Wyspa], Architectures of Gender [2003, SculptureCenter, New York]. Her writings have been published in Aprior Magazine, n.paradoxa, Art Journal, ArtKrush. Art Margins. In 2005, she was given the Jerzy Stajuda Award “for independent and uncompromising curatorial practice”. She has lectured at many art institutions and universities, including New School University, Queens College and New York University, both in NYC, Florida Atlantic University in Boca Raton as well as Copenhagen University and worked as a guest professor at the Akademie der Bildende Kunste in Mainz, Germany.

Currently she is writing her PhD thesis at Copenhagen Doctoral School Copenhagen University and Goldsmiths College in London.

Interests: Art activism, socially and politically engaged art, public space, memory and history matters, art, literary and linguistic theories, contextual practices, conceptualization of art institutions.

Grant Watson (PhD, completed 2016)

Grant Watson is Senior Curator and Research Associate at the Institute of International Visual Arts in London (Iniva). As curator at the Museum van Hedendaagse Kunst Antwerpen (MuHKA) 2006 – 2010 his projects included Santhal Family positions around an Indian sculpture, Cornelius Cardew, Search for the Spirit, Textiles Art and the Social Fabric and the Keywords lecture series. He was previously the Curator of Visual Arts at Project in Dublin between 2001 and 2006 where he focused on solo commissions from contemporary Irish and international artists as well as themed projects such as a series around communism that included an exhibition, book and radio programme. Watson has worked with modern and contemporary Indian art since 1999, researching this subject for Documenta 12, as well as co curating Reflections on Indian Modernism a series of exhibitions, talks and events at the Office for Contemporary Art Norway (OCA). The touring exhibition Nasreen Mohamedi: Notes is the first instalment of this programme. He has published widely writing including with Phaidon, DuMont Publishers, De Appel/Open Editions, Afterall, Flash Art, Metropolis M, Jaherwal Nerhu University, Douglas Hyde Gallery, Showroom Gallery and Neue Review. Talks/panels including at Tate, Serpentine, Van Abbemuseum, Weils, Casco Projects, Canal/Peer Arts, ACAD conference (Baeza) Visva Barati University (W.Bengal), V&A, and the Irish Museum of Modern Art. Watson studied Curating and Visual Cultures at Goldsmiths College London where he is currently a PhD candidate.

Interests: A continued investigation into the communistic as it is materialised in contemporary and historical art practice as well as in lived experience. An analysis of the cartography of power as well as the micro political - of how individuals and groups position themselves in relation to the world as a key theme within the curatorial. Methodology: to make this analysis through semi fictional texts that perform the notion of a poetic community and resistance at the level of the micro political.

Leire Vergara

Leire Vergara is an independent curator who works and lives in Bilbao. Since 2006 till 2009 has worked as chief curator at sala rekalde, Bilbao. During this period her curatorial practice has paid special attention to the production of commissioned projects that encouraged new forms of transcending the limits of the white cube. She also developed a strong commitment with art education through different conferences, workshops and meetings that were pivotal to the exhibitions programme. Some of her most relevant curated exhibitions at sala rekalde include The Return of the Real by Phil Collins, No Bars, Just Bottles by Can Altay, The Coast, the Attack, the Same by Dolores Zinny Juan Maidagan, Recent Projects by Sean Snyder, 1,2, 3 Avant-Gardes Art as Contextual Art Film/Art Between Experiment and Archive (co-curated with Lukasz Ronduda and Florian Zeyfang), Guide to the Wastelands of the Bilbao River Estuary by Lara Almarcegui, Ghost Box by Itziar Okariz, Symmetric Inequality by Haegue Yang and Peter Friedl among many other projects and exhibitions. From 2002 to 2005 co-directed together with Peio Aguirre the independent art production structure called D.A.E (Donostiako Arte Ekinbideak) with base in Donostia-San Sebastián. This structure was an associated project to Arteleku committed to work directed at urban space- understanding this as a site of production- with the aim of generating new forms of conceiving the contemporary transformation of public space. During these years, artists such as Phil Collins, Susan Philipsz, Asier Mendizabal, Asier Pérez, Ainara García, Iñaki Garmendia, Jakob Kolding and Lise Harlev developed new productions in the public space of the city of Donostia-San Sebastián. She participated together with Peio Aguirre, Gorka Eizagirre and Xabier Salaberria in Manifesta 5 with the research project entitled Film Ideal Siempre. She has participated in educational workshops and projects such as Dispositive Workshop at Kunstverein Munchen (2004) and Cork Caucus (2005) and has been involved in the coordination of workshops such as: Collecting, Exhibiting. Art History and the Art of the Present in the Spanish Museums of Contemporary Art, El Escorial (2008), Untitled (15 days) Grand Atelier École des Beaux-arts de Bordeaux (2006-2007), Enthusiasm_archive_workshop Arteleku (2006) and We rule the school, Arteleku (2005). She contributes as writer in some art and cultural magazines and catalogues.

Carolina Rito (PhD, completed 2015)
Maria Bella

María Bella (Madrid, España, 1974). I am currently researching at the Curatorial Knowledge program at Goldsmiths University in London Bachelor of Fine Arts from the Universidad Complutense de Madrid, finished my career at Chelsea College of Art in 1998. I studied a Masters in Art Administration and Creative Curating at Goldsmiths University between 1999 and 2000. My interest lies in exploring the boundaries that trigger and shape the public sphere and the potential of the collective in this regard. My practice is curatorial, understood as a creative and organizational activity. As curator I have always engaged with experimental methodologies that explore the limits of the public. For the last ten years I have worked mainly for the cultural department of Madrid City Council from within but also as independent curator. In 2005, on the initiative of Juan Carrete together with Frank Buschmann and myself we founded Intermediae {Creación Contemporanea} in Matadero-Madrid in response to the invitation made by Dirección General de Proyectos Culturales del Área de Las Artes del Ayuntamiento de Madrid. I was responsible of Intermediae and its curatorial approach until 2012. In 2003 I curated in collaboration with Miguel Álvarez the project Itinerarios del sonido a transdisciplinary project developed on the format of sound site specific pieces for which we commissioned artist from different disciplines such as Vito Acconci, Adrian Piper, Bill Fontana or Luc Ferrari, Daniel Samoilovich or Jorge E. Eielson, etc.

Bassam el Baroni

Bassam El Baroni is a curator and an art critic based in Alexandria, Egypt. He is the co-founder, in 2005, of the non-profit art space Alexandria Contemporary Arts Forum (ACAF), and its director from 2006 to 2012. El Baroni was co-curator of Manifesta 8, The European Biennial of Contemporary Art, 2010, Region of Murcia, Spain for which he curated (with Jeremy Beaudry ACAF’s former associate curator) OVERSCORE; an exhibition project in three different venues in the cities of Murcia and Cartagena. Other exhibitions and projects include: When it Stops Dripping from the Ceiling (An Exhibition That Thinks About Edification), Kadist Art Foundation, Paris, 2012; Trapped in Amber – Angst for a Re-enacted Decade (with Helga-Marie Nordby), UKS, Oslo, 2009; Cleotronica 08, Festival for Media, Art, and Socio-Culture, Alexandria, 2008; You, Me, and The Trajectories of a Post-Everything Era, ACAF, Alexandria, and PROGR, Bern, Switzerland, 2005-2006; the ongoing online collaboration The ARPANET Dialogues (with Nav Haq and Jeremy Beaudry), 2010–present; and the publication Fifteen Ways to Leave Badiou (2011). El Baroni is currently co-curating (with Anne Szefer Karlsen and Eva González-Sancho) the Lofoten International Art Festival (LIAF) to open September 2013 in Vågan, Lofoten Islands, Norway. He has contributed texts to a variety of publications and has delivered papers at a wide range of conferences and symposia including: Museums Beyond The Crises - CIMAM Annual Conference, SALT, Istanbul, 2012; the 3rd FORMER WEST Research Congress, Beyond What Was Contemporary Art Part Two, Utrecht, 2012; dOCUMENTA 13, Cairo Seminar, 2012; Timing: On the Temporal Dimension of Exhibiting, Academy of Visual Arts Leipzig, 2012, and the Human Snapshot: Humanism and Universalism in Contemporary Art and Photography, Luma Foundation, Arles, France, 2011. In 2013, he will be directing a curatorial practice course at the Salzburg International Summer Academy of Fine Arts.

Vipash Purichanont

Vipash Purichanont is a postgraduate research student in Curatorial/Knowledge at Department of Visual Cultures, Goldsmiths, University of London. He also works as an independent curator. He was a researcher-in-residence at dia/projects in Ho Chi Minh City, Vietnam (2010). His curatorial projects included: Kamin Lertchaipraset’s 31st Century Museum of Contemporary Spirit Laboratory @ Chicago in United States (2011), Concept Context Contestation: Art and the collective in Southeast Asia at Bangkok Art and Cultural Centre (2014) and Couldn’t Care Less : Cross Cultural Live Art Project at Deptford Lounge in Southeast London (2015). He also occasionally writes for baccazine and Bangkok Post.

Gonçalo Sousa Pinto
Fereshte Moosavi

Born in Tehran, 1981. Bachelor in Fine Art (Sculpture | Public Art) from University of Art in Tehran, 2006 and MA in Fine Art from Plymouth University, 2008. Fereshte Moosavi is currently a PhD candidate in Curatorial/Knowledge program at Goldsmiths College, University of London. Her research is titled as: A Study on Curatorial-Abilities; Environmenting, Improvising, & Inhabiting State of Affairs. She lives between Tehran and London, and is the art director and curator at the MOP Foundation, a non-profit organisation based in London that provides different educational and curatorial programmes for Iranian artists. She is the course designer and teacher of Curatorial; An Educational-Research Programme at Charsoo-Honar institute in Tehran. Moosavi is also a teaching assistant in Visual Cultures Department at Goldsmiths College University of London since September 2014 and has taught as assistant-teacher and external supervisor/reviewer, respectively at Essex University 2011, and Aalto University, Helsinki since May 2014. She has been a guest lecturer at Charsoo Honar in Tehran, March 2013. Her articles entitled Theatre as Crime | Theatre as Justice, published in Art & Media Magazine in Tehran, 2013, and Salaam Cinema, ‘Entering the Space of the Unknown, in DISDISDIS, Oct 2013. Fereshte Moosavi worked at the Bon-Gah Publication as Editor and Translator in Tehran, 2004-2010.

Hui-ying Chen
Johnny Herbert

Studied music composition in London, Berlin, and Huddersfield before enrolling on an art course in Bergen, Norway, finishing in 2013. Begun Curatorial/Knowledge PhD candidacy in 2015. Co-founding editor of the free English-language newspaper Grafters’ Quarterly, a forum offered in the spirit of newspapers acting as congregators of social conscience and instigated with the belief in theorising as something other than a specific methodology. Also works as a writer, copyeditor, and translator. Based in Norway.

Interests (as of Dec 2015): How technological reinforcement (e.g. amplification and noise abatement) in situations of public address has reconfigured conditions of being an addresser and an addressee; freedom of speech and the ‘freedom to be heard’; theological genealogy of public address; confession, heckling, and parrhesia; conceiving of fetishism; early twentieth century publications; Gertrude Stein; graphic design; what is editing?

Theodor Ringborg
Joni Zhu
Elora Tescari (M.Res in Curatorial/Knowledge, 2015-2016)

Elora is an MRes student in Curatorial/Knowledge. In 2015 she graduated in Art History and Cultural Studies at the University of Sussex. In 2014 she was the recipient of the Junior Research Award (University of Sussex); her research was also presented at the British Conference of Undergraduate Research at the University of Winchester. In recent years Elora has been involved in a number of educational and participatory projects. She has worked with the Widening Participation team (University of Sussex) on a series of workshops for children and young students aimed at increasing awareness about higher education and the study of Visual Cultures. She was also invited as a guest lecturer at I.T.S.O.S Albe Steiner (Milan, Italy). Elora has also collaborated with the non-profit organisation Engage and Create, where artworks are used to encourage discussion among elderly people affected by dementia.

Research project: Elora’s research looks at the classical tripartition of human experience: Labour (poiesis), Action (praxis), and Intellect (theoria), in an attempt to (re)place the sphere of leisure (scholè) and play (paidiá). The project is concerned with the potentiality of ‘paidiá’ as a disrupting element of everyday life through the appropriation of urban space. ‘Paidiá’ is a constituting force, rather than a form of relaxation – as Aristotle would have it.

Manuela Villa Acosta (M.Res in Curatorial/Knowledge, 2015-2016)

Manuela Villa Acosta is a cultural producer based in Madrid and working as Head of Art Programmes in Matadero Madrid. Her practice could be defined as that of establishing curatorial frameworks in which to work collectively with other curators, educators, architects, artists, critics, thinkers or citizens in projects that challenge concepts such as exhibition, authorship, cultural production or discipline. She is a founding member of the tool for cultural agitation Ladinamo and during her time in Matadero, she has co-created projects like Archive of creators, El Ranchito, Here Together Now, Levadura. Residency programe for creators-educators or Community and Theory. Programme of Thought of Matadero Madrid, with three collective and participated research groups: Decolonizing Knowledge and Aesthetics, Ecology, New Territory and Landscapes in Contemporary Culture and Microondas. Laboratory of Disruptive Education. She has also curated the site specific programme Abierto x Obras with artists such as Los Carpinteros, Roman Signer, Cristina Lucas, Marinella Senatore, Sara Ramo or Carlos Garaicoa.

Research project: The Museum is a School. Collective exercises of political fiction for a transforming institutional critique (working title), together with other pedagogy collectives and Education departments working in the Spanish territory.

Ryan Inouye (M.Res in Curatorial/Knowledge, 2015-2016)
Miguel Amado (M.Res in Curatorial/Knowledge, 2015-2016)
Madeleine Hodge (M.Res in Curatorial/Knowledge, 2015-2016)
Elvira Lamanna (M.Res in Curatorial/Knowledge, 2015-2016)

In 2012 I graduated in Art History at “La Sapienza” University of Rome. My dissertation Art and institutional critique: beside criticism, beyond the art system was set out to explore, from the late ‘60s until the ‘90s and 2000s, those artistic practices of institutional critique that triggered critical and analytic processes of the economic, political, social and cultural implications in the art system. In 2013 I obtained a Master's degree in Educational Management for contemporary art at “Amedeo Avogadro” University of Eastern Piedmont in Turin. My thesis’s title was Participatory art models between social media and public space. This study examined what are outcomes and criticisms by adopting social media to public art projects with social, political and anthropological aims. During the master, I was working both with a.titolo, a collective of art critics which deals with public art projects with a social role and Associazionedidee - Pistoletto Foundation, that applies experimental educational projects (as Montessori method) to contemporary art. In 2013-2014 I worked with a contemporary art magazine “Arte e Critica” in Rome and I currently write for a contemporary art magazine “Juliet art magazine”. I am undertaking an MRes in Curatorial knowledge.

Research project: My research proposal aims to investigate the nexus between radical pedagogies and the work conducted by the Center of Urban Pedagogy (CUP), a non-profit organisation established in Brooklyn, New York, in 1997, which deals with art, urban activism and pedagogy.