Authors

Agata Adamiecka-Sitek is an academic, researcher in Theatre Studies, theatre critic and editor at the Zbigniew Raszewski National Theatre Centre in Warsaw. She is also the editor of the magazine Polish Theater Journal. She is the author of many articles and books on the theatre. She is interested in gender, physicality and the political aspect of the art.

Vangelis Athanassopoulos is a theorist, art critic and independent curator. He holds a doctorate in aesthetics from Université de Paris 1 Panthéon-Sorbonne and has taught art history, art philosophy, and photography and film theory in various universities. A founding member of the journal Proteus, Cahiers des théories de l’art (http://www.revue-proteus.com/), he co-directed issues #3 (Art and Public Space), #5 (Pornographies: From Animal to Machine) and #10 (Curating as a Form of Research). He is the author of La Publicité dans l’art contemporain I. Esthétique et postmodernisme, and La Publicité dans l’art contemporain II. Spécularité et économie politique du regard (L’Harmattan, 2009). He also directed Quand le discours se fait geste. Regards croisés sur la conférence-performance (Les presses du réel, 2018) and co-directed La Pensée comme expérience. Esthétique et déconstruction (Publications de la Sorbonne, 2016) with Marc Jimenez. As a curator, he designed and produced the lecture-performance Le syndrome de Simushir, 2019 (Fabrica Artspace, Athens, 2019) and was the head of programming/distribution for the video by Marie Voignier and Vassilis Salpistis, Des trous pour les yeux, 2009 (galerie Cortex Athletico, Bordeaux, 2011) and the experimental radio piece Carte blanche à Vangelis Athanassopoulos, 2017 (La Radio Parfaite, 2017).

Joan Ayrton (1969 – Switzerland), of British nationality, is a painter, photographer and lately a filmmaker working on the borders between the visible and invisible. For several years, she has focused specifically on the world of minerals and geology as a way of understanding contemporary physical and political disturbances. In 2012, she received a grant from the Centre national des arts plastiques (CNAP) to develop her research in Iceland. In 2014, she curated the exhibition Glissements de terrain, cartographie, pensée, paysage at La Box gallery in Bourges. In 2018, she initiated a series of screenings and meetings about the mineral landscape at the Beaux-Arts de Paris as part of its cultural program. Some recent examples of solo and group exhibits: A soft mellow tinge in the 2018 edition of Art in the Chapels (curated by Éric Suchère); Slow Melody Time Old at Florence Loewy gallery in 2017, (…) aide à la vision, en strié sur les ondes lunaires, à rétrodiffusion; En grand; en petit, in duo with Benjamin L Aman at Instants Chavirés in Montreuil, 2017 (curated by Marie Cantos). Joan Ayrton teaches at Villa Arson (Nice) and is represented by Florence Loewy gallery in Paris.

Pierre Bal-Blanc is an independent curator and essayist based in Paris and Athens. He was curator for documenta 14 in Athens and Kassel. His last project “Der Canaletto Blick- The Canaletto View” in 2017 was a commission program for the Erste Group Bank AG at Erste Campus in Vienna Austria (cat Walther König 2019 to come). “Project Phalanstère,” is his last book published by Sternberg Press in 2017 following the directorship of CAC Brétigny, an art center in the Outskirts of Paris for 10 years. His exhibition sequences “La monnaie vivante/Living Currency” (CAC Brétigny/Micadanses, 2005–06; Stuk Leuven, 2007; Tate Modern London, 2008; MoMA Warsaw and Berlin Biennale, 2010) and “Draft Score for an Exhibition” (Le Plateau Paris, Artissima Torino, Secession Vienna, 2011; Index Stockholm, 2012; catalog NERO Publisher Rome, 2014) negotiate the current and historical analysis of the body and the strategies related to performance in visual arts. He has realized the acclaimed group shows “Reversibility- a theater of de-creation” (for the Fair Gallery at Frieze Art Fair, 2008; CAC Brétigny, 2010; Peep Hole Milan, 2012; catalog Mousse Publishing, 2012) and “The Death of the Audience” at the Secession in Vienna in 2010 (catalog Ver Sacrum Verlag Niggli AG Sulgen/Zurich, 2011). “Soleil politique”, was his last museum exhibition at Museion in Bolzano, Italy in 2014 (catalog Paraguay Press, 2016).

Eva Barto graduated from the University of Paris 1 in Film Theory and then from the Beaux-Arts de Paris. She then participated in the International Post-Diploma programme at the ENSBA (Ecole Supérieure des Beaux Arts) in Lyon in 2014. Her work has been the subject of several solo exhibitions, at the gallery gb agency (Paris, 2016) as well as at the Villa Arson Art Centre (Nice 2016) and soon at the Kunstverein Nuremberg and the KunstlerHaus in Stuttgart (2020). Her work has also been presented in several group exhibitions in France and abroad, notably at the Marcelle Alix Gallery (Paris, 2015), the Rennes Biennale (2016), and the Kadist Foundation (Paris, 2016), the Fondation d'Entreprise Ricard (Paris, 2017, 2019), Wattis Art Center (San Francisco, 2017), the Max Mayer Gallery (2018), the Secession Building (Vienna, 2018), the Anafi Biennial (Greece, 2019) and soon at the Grand Café (Saint-Nazaire, 2020). In 2016, she created the editorial project Buttonwood Press. She is founder of the collective La Buse and co-hosts the show ForTune on *DUUU Radio with Estelle Nabeyrat. Since 2019, she has been teaching at ENSBA Lyon.

Julien Bécourt is a writer and an art critic. He has written for Chronic’art, Vice, artpress, Audimat, Images de la Culture, RBMA, and collaborates on a regular basis with Mouvement, Grazia and Trois Couleurs. His main focus is on avant-garde and sub-cultural movements, and the way they impact society and popular culture. His writing is mainly concentrated on contemporary art, music and cinema. He also directs the label Op Oloop as wall as the festival of the same name, and hosts the monthly show Entente Cordiale on LYL Radio. He is currently writing his first middle-length film.

Born on 21 May 1967, Bruce Bégout is a French philosopher and writer. He is a university professor and lecturer at Bordeaux III. He is the author of a number of published philosophical texts, four essays published by Allia (Zéropolis. L’expérience de Las Vegas, 2002; Lieu commun. Le motel américain, 2003; La Découverte du quotidien. Éléments pour une phénoménologie du monde de la vie, 2005; De la décence ordinaire, 2008), and a 'fictional documentary' in the style of some of the filmmakers that appear in his novel Éblouissement des bords de route (Editions Verticales, 2004). He also worked for the journal Inculte before leaving in February 2008. In 2013, Inculte published his Suburbia, an essay on suburbs that stretch out to the peripheries of cities. As well as his research, he oversees the Matière étrangère collection published by Vrin. A specialist on Edmund Husserl (the subject of his thesis), he is fascinated by exploring the urban, shared spaces and the everyday. A novelist as well as an academic writer, he published a collection of short stories in 2009 (Sphex), and Le ParK in 2010. In January 2014, Allia published his new collection of short stories, L’Accumulation primitive de la noirceur. In Duane Hanson, le rêve américain, he shares his thoughts on the American sculptor and his work.

Fine artist, screenwriter and director Pierre Bismuth lives and works in Brussels. His practice, characterized by an open reflection on the status of the artwork, analyzes the representation of and critical response to production by way of gestures and interventions that play on displacement, diversion and appropriation; leading to the idea that by simply manipulating the commonly held definition of things, we can change how they are perceived. Private/public sphere, art history, language, image, cinema, popular culture, identity are all themes investigated in his works since the late 1980s.

Nathalie Blanc is a graphic artist, editor-in-chief, CNRS researcher on environmental issues and poet-and geographer, all in one. <em>Mémoires climatiques</em>, a compendium prepared on the basis of a participative experiment on the banks of the Seine in Paris, led to a performance at the digital arts and modern music centre La Gaîté-Lyrique, in the context of ArtCop21, in July 2015. She contributed to issues 12 and 18 of <em>Espace(s)</em>.

Adrien Blouët was born in 1992. During his art studies, he discovers anthropology and decides to start writing. He publishes narratives mixing wandering and pilgrimages, questionning what makes or prevents our feeling of belonging to places, as future of nomadism, travels and their writing on times of mass tourism and great migrations. These texts are readable on www.mananava.land. He's now living in Shanghai, where he works in the context of the research program Creation and globalization of the Offshore School.

Virginie Bobin works at the crossroads of research, curatorial and editorial practices, pedagogy and translation. In 2018, she started a practice-based research around the political and affectives takes of translation, in the frame of the PhD-in-practice program in Artistic Research at the Akademie der bildenden Künste (Vienna). In parallel, she co-founded with Victorine Grataloup the non-profit organization QALQALAHةلقلق, a platform for artistic exchanges, research and translations. She also develops long-term collaborations with artists Mercedes Azpilicueta and Franck Leibovici, that take the forms of texts, books, exhibitions and pedagogical interventions. Until 2018, she was Head of Programs at VillaVassilieff, a center for art, research and residencies, which she co-created in 2016. Previously, she worked for Bétonsalon – Center for Art and Research, Witte de With Center for Contemporary Art (Rotterdam), <em>Manifesta Journal</em>, Les Laboratoires d'Aubervilliers and Performa, the New York Biennial for Performing Arts. Her independent curatorial projects took place internationally, in such institutions as MoMA PS1, e-flux space or Tabakalera, and her texts were published in international exhibition catalogues or magazines (Metropolis M, Manifesta Journal, Frieze /de, Flash Art, Switch on Paper...). Editorial projects include: Composing Differences (Les Presses du Réel, 2015) and Qalqalah (an online platform jointly edited by Bétonsalon – Center for Art and Research, Villa Vassilieff and Kadist Paris, 2015-2018).

Amalina Bomnin Hernández is a writer, curator, and founding professor of the University of the Arts in Guayaquil, Ecuador, where she teaches in the Transversal Department of Critical Theories and Experimental Practices.

Patricia Brignone is a critic and Doctor in art history, with a keen interest in stage practices at the crossroads of various disciplines. She has collaborated in numerous media (artpress, Mouvement, Critique d'art, France-Culture) and has written several books: Ménagerie de Verre, Nouvelles pratiques du corps scénique (pub. Al Dante, 2006); Du dire au faire (published by Musée du MAC/VAL de Vitry-sur-Seine, 2012), as well as a number of catalogue texts: Ne pas jouer avec des choses mortes (Villa Arson, Les presses du réel, 2009); La performance : vie de l'archive et actualité (published by Les presses du réel, 2013); Uchronia - Duplicate > Do not create - Infiltrate - Do not exhibit..., by Annie Vigier & Franck Apertet [les gens d'Uterpan], (Sternberg Press, 2017); Esther Ferrer (MAC/VAL - Frac Bretagne, 2014) or Esther Ferrer, Todas las variaciones son válidas, incluida esta, (Museo Reina Sofia, Madrid, 2017-2018). Co-curator of the SIGMA exhibition at the CAPC Centre of Contemporary Visual Arts of Bordeaux (2013-2014), she is also co-author of a film, with Pascale Cassagnau, about the artists of the Eric Fabre gallery: La parade des objets. She teaches history and art theory at the École supérieure d'art et de design de Grenoble.

Estelle Brousse studies contemporary female engaged art practices in post-colonial contexts. Holder of a Master's Degree in Art History Research - Art and Globalization at the University of Lyon II. In the spring of 2018, she travelled to South Africa to meet with artists and curators while conducting research at the Gay and Lesbian Archives of Johannesburg (GALA). In 2019, she completed her dissertation entitled "Female engagements: South African artists challenge western art history" directed by Laurick Zerbini. She is currently studying for a master's degree in Expography-Museography at the University of Artois in Arras.

Marie Canet is a French art critic and film curator. She hascollaborated with institutions such as the Musée d’Art et d’Histoire dujudaïsme or the Centre Pompidou (Paris), the Credac (Ivry), the Frac Aquitaine(Bordeaux), Flat Time House or the Tate Modern (London). Her last publishedbook is Juntos en la Sierra, Speech Act, identités et globalisation (ShelterPress, 2018). She is currently working on a monograph on the work of Marc Camille Chaimowicz. She teaches aesthetics at École des Beaux-arts de Lyon.

Max Cegielski (b. 1975), is a writer and journalist, co-curator of the project Polish-Indian shop (Warsaw, Bombay 2017), Global Prosperity (Gdańsk 2010), curator of Migrating University of Mickiewicz (Istanbul 2014). Author of seven books, including Mozaika. Śladami Rechowiczów. For the book on Istanbul entitled Oko świata he received the Beata Pawlak Award in 2009. His last book is Wielki Gracz. Ze Żmudzi na Dach Świata. As the co-host of the TVP Kultura show Hala Odlotów he received “Grand press” award.

Alexis Cicciù (b.1984 in Varese, Italy) lives and works in Menton, France. He studied at Pavillon Bosio, École supérieure d'arts plastiques de la Ville de Monaco and at Ecole Supérieure d'Art Annecy Alpes. Between shamanism and bestiary, his practice is showed as performative but he feels first of all a sculptor. Fascinated by nature and biology, he is passionate about taxonomy, a insects breeder and a collector. He briefly lived in Brussels where he met the Abilene gallery. Two performances were born of this collaboration in 2012 and 2013. His first personal exhibition was held by the Couac in Villeurbanne in 2014. In 2015 and 2016, he participated to Nomad Workshop, a residence in Wiltz and at Casino, art center, in Luxembourg. In 2018, he participated to hydrogYnesis, a collective exhibition on the theme of seas and sirens, at Metaxu, Toulon https://alexiscicciu.blogspot.com

Luc Clément acquired extensive experience in communication at major groups (Havas, Publicis) and independent structures before forming his own agency in Nice. An expert in brand name history, he possesses solid skills in the world of creation. In 2001, he founded 'Le Dojo', an experimental contemporary art space where he collaborated with numerous artists and musicians on in situ projects, throwing bridges and prompting interactions between the artistic sphere and private business. These collaborations put the spotlight on various original artists such as Céleste Boursier Mougenot, Matthieu Mercier, Nicolas Moulin, Vincent Epplay and, in association with Arnaud Maguet, performances by Jac Berrocal, Xavier Boussiron, Lee Ranaldo, Aki Onda and many more. He is now Associate Editor and Head of Publication for the magazines Marie Claire and Marie Claire Maison Méditerranée.

Anna Colin is a curator, educator and researcher. She co-founded and co-directs Open School East in Margate (UK), a local learning and cultural centre that is experimental and collaborative. Anna Colin also works as associate curator at Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette in Paris, and is a PhD candidate in the School of Geography at the University of Nottingham, where she is conducting research into so-called alternative learning and cultural spaces in the UK and the US, from the late 19th century to the present. Anna was co-curator, with Lydia Yee, of the touring exhibition British Art Show 8 (Leeds, Edinburgh, Norwich and Southampton) in 2015-16. Previously, she was associate director of Bétonsalon – Centre for art and research, Paris (2011-12), associate curator at La Maison populaire, Montreuil (2012) and curator of Gasworks, London (2007-10).

In 2012, Zoé Cosson joins the Reims Higher School of Art and Design where she develops a hybrid practice between experimental video, documentary and writing. Her works explore the ways of how the environment evolves on particular and circumscribed territories and facing that, the movements likely to shape them. After obtaining her DNSEP in 2018, her video Salle d’attente is exhibited at the FRAC Champagne-Ardennes. The same year, she joins the Creative writing Master of The Havre-Rouen Higher School of Art and Design where she works on a non-fictional novel based on iconographic archives, memories and interviews of the people in a village based in a valley of Ariège. An extract of this non-fictional novel is published in the Artichaut review of 2019. At the same time, she continues to collaborate with young artists, in particular with Firs Laid which publishes the story of her encounter with the Paris Center for Cosmological Physics astrophysicists in order to accompany the exhibition Ce qui ne tourne pas, tombe.

Alfredo Cramerotti is a writer, curator and broadcaster. He is Director of MOSTYN, Wales; Advisor to the British Council Visual Arts Acquisition Committee and the Art Institutions of the 21st Century Foundation. His curatorial endeavors include three national pavilions at the Venice Biennale (2015 and 2013), the biennial Sequences VII Reykjavik, Iceland (2015) and Manifesta 8, Region of Murcia and Cartagena, Spain (2010). He is the editor of the Critical Photography book series since 2009, and his own publications include Forewords: Hyperimages and Hyperimaging (2018), Unmapping the City: Perspectives of Flatness (2010) and Aesthetic Journalism: How to Inform without Informing (2009).

Sandra Delacourt is a contemporary art historian and associate researcher at HiCSA (Université Paris 1 Panthéon-Sorbonne) and a professor at ESAD TALM-Tours. Concerned with the phenomena of emergence operating in the field of art, her work looks at the process of artistic recognition, the political regime of the visible, as well as the construction of knowledge and historical narratives. Her publications include: L’artiste-chercheur, un rêve américain au prisme de Donald Judd (B42, 2019), in Bruno Serralongue, Les Naturalistes en lutte sur la ZAD de Notre-Dame-des-Landes (GwinZegal, 2019), Le Chercheur et ses doubles (B42, 2016).

Juliette Desorgues is an independent curator and writer based in France and the UK. Recent projects include, amongst others, the exhibitions ‘This future is unthinkable. Yet here we are, thinking it’, Damien & the Love Guru, Brussels, 2019; ‘Hypersea’, artmonte-carlo, 2018, and the exhibition and publication ‘Helen Johnson: Warm Ties’, Artspace, Sydney and ICA, London, 2018. She previously worked as Associate Curator at the Institute of Contemporary Arts, London and held curatorial positions at the Barbican Art Gallery, London and Generali Foundation, Vienna. She studied Art History at the University of Edinburgh, the University of Vienna and University College London.

DISNOVATION.ORG [aka. disobedient innovation] is a collaborative group based in Paris. A shared platform for contemporary art, research and hacking, the group creates situations of interference, debate and speculation aimed at diverting the ideology behind innovation in a bid to spark alternative narratives via a series of investigations, works of art and subverted critical analysis. The group also publishes works such as The Pirate Book, designed as an anthology on pirating cultural content. Founded by Nicolas Maigret and Maria Roszkowska, the group operates in different configurations depending on each individual project and piece of research. Predictive Art Bot is an algorithm for predicting and subverting emerging artistic trends and was developed by Jérôme Saint-Clair (artist and developer) and Dasha Ilina (artist). Shanzhai Archeology is a collection of non-standardised, hybrid technological objects, and invites the viewer to reconsider the standardisation of western technological concepts. It was designed by Clément Renaud (researcher) and Hongyuan Qu (designer).

Guillaume Désanges is a free-lance curator and art critic, founder and director of Work Method, a Paris based agency for artistic projects. He organizes international exhibitions projects and lectures.

Latest projects : “Ballistic poetry” (2016, La Verrière, Fondation d’entreprise Hermès, Brussels), L’esprit français, Countercultures, 1969-1989 (2017, La maison rouge – Fondation Antoine de Galbert, Paris), The Enemy of my enemy (2018, Palais de Tokyo,Paris), Chroniques de l’invisible (2020, Le Grand Café, Saint-Nazaire), Invisible Concern, Ismaïl Bahri, (2019, Le Forum, Tokyo), Barbara CHase-Riboud (2020, La Verrière, Fondation d’entreprise Hermès, Brussels), Absalon,Absalon (2021, CAPC, Bordeaux).

Vincent Epplay is a french sound artist. Since the early nineties, he develops an unclassifiable artwork exploring the interaction between sound process and visual shapes. He starts to develop a peculiar and prospective approach to electronic music, focused on aleatory composition, learnings of musique concrete and a poetic/humorous reappropriation of vintage sound/film material. He has produced a dozen of records for various music labels: Blackest ever Black, Grautag record ,AKA, Planam alga marghen, LDDR... He keeps on archiving anomalous novelty/library/spoken words records and vintage 8mm educational movies. Vincent Epplay is a creator of material sonic environments. He creates loci for listening by staging sound and interrogating its mode of distribution and reception. From sonic device installations to live performance, the context of production and dissemination, as well as the behavioural dynamics of listeners-spectators. In his work, the visual artist and musician Vincent Epplay focuses on the notion of experience linked with music. This interest takes shape as a reflection on the process of listening, the transmission and reception of sound, the different ways it is placed in an environment, its temporality and its context. Epplay's various set-ups for listening sound installations and live interventions delve into the connection between sound and image, offering visitors an experimental terrain, as they become attentive listeners as well. Created in a public area, on the Web, his pieces occupy particular spaces to create individual and collective listening conditions.

Jean-Baptiste Farkas’ artistic practice questions the notions and status of the artist, the artwork and the place of exhibition. He involves everyone in completing precise tasks that take the shape of services whose underlying objective is to upset the established order: put part of a habitat out of service, slow down the workflow or even tell lies. His collaborative projects are known under the names IKHÉA©SERVICES (1998), Glitch, Beaucoup plus de moins ! (2002) et PRACTICES IN REMOVE (2015). Books: IKHÉA©SERVICES, 68 pages de passages à l’acte !, Zédélé éditions, 2004. Glitch, Beaucoup plus de moins !, Zédélé éditions, 2006. Des modes d’emploi et des passages à l’acte, éditions MIX, Paris, 2010. Le Tournant Hostile, e-Publication, ABM Distribution, 2016. Retours d’usagers, éditions autrechose, 2016. On Words, In Deeds, english book, mfc – michèle didier, Bruxelles, 2017

Frédéric Ferrer is an author, actor, director and geographer. He creates shows feeding on field surveys and documentary sources which examine unexpected and offbeat regions. His two most recent pieces were Borderlines Investigation 1(2018) and Olympicorama (2019).

Marie Fouquet is a journalist at the Magazine littéraire and an independent critic. She has written articles for the magazines Mouvement, Reliefs, Trax, Chronic’art, Alternatives économiques, and more recently for En attendant Nadeau. At the crossroads of academic culture and counter-cultures, she co-hosted – with Laura Boullic, Anne Kawala, Élodie Petit… -, the monthly event “Poésie civile” (2016-2018) in the framework of DOC! the free university in Paris. She holds a Master 2 degree in modern literature, devoting her first dissertation to the exploration of melancholy in Baudelaire and Sartre (“From Spleen to Nausea”) and her second piece of research to the American poet John Giorno.

Maurice Fréchuret is an art historian and head heritage officer. Holds doctorates in sociology and art history. Curator at the Musée d’Art Moderne de Saint-Étienne from 1986 to 1993, then at the Musée National Picasso in Antibes from 1993 to 2001. He was also the director of the CAPC Musée d’Art Contemporain de Bordeaux from 2001 to 2006, and then curator at the National Museums of the 20th Century in Alpes-Maritimes (2006-2014). He has organized numerous exhibitions throughout his career and published in many catalogues. He is also the author of: Effacer, paradoxe d’un geste artistique (Presses du réel, Paris, 2016), Prix Pierre Daix, 2016. Exils, (in collaboration with Laurence Bertrand-Dorléac) (RMN, Paris, 2012). Les Années 70, l’art en cause (RMN, Paris, 2003). L’Art médecine (in collaboration with Thierry Davila) (Musée Picasso, Antibes, RMN, Paris, 1999). L’Envolée, L’Enfouissement (Skira, Milan, RMN, Paris, 1995). La Machine à peindre (Jacqueline Chambon, Paris, 1994). Le Mou et ses formes> (première édition : éditions ENsBA, Paris, 1993) ; (Jacqueline Chambon, Paris, 2004).

Chloé Fricout (born in 1983, lives and works in Paris) is a researcher in contemporary art, namely at the crossroads of architecture and urban challenges. In Mexico and then in France, her projects are focused on dispositives (VICO, Videoclub de Operacion Expandida, Prince Claus Foundation Prize, 2011-2015); exhibitions (Foutez-moi la paix avec vos paysages, parlez-moi plutôt du sous sol, Anne-Charlotte Finel, solo show, Gal. Jousse Entreprise 2018; In this Vessel We Should Be Kept, Ayoung Kim, solo show, Palais de Tokyo and Opéra de Paris, 2016; etc.); and written works (Catalogue of Urban Legends, Ed. SEMA, Seoul, 2016 ; Conversación con Santiago Borja, Nerivela 3, Mexico, 2014, etc.). Chloé Fricout is also engaged in artist residency programmes conceived as research laboratories. In 2011, she developed the international residence, the Casa Vecina-Espacio Cultural in Mexico, and then coordinated the Pavillon at the Palais de Tokyo in Paris (2012-2017). Today, she is responsible for projects at the Palais de Tokyo and vice-president of the national network Arts-en-résidence.

Emmanuelle Gall holds degrees in classical literature and art history and has taught in various contexts, from secondary school to university (Paris VIII-Saint-Denis). At the same time, she became a journalist and art critic, with a predilection for collective practices, in public spaces and venues that are not specifically dedicated to art. After having contributed to several Parisian publications (Nova mag, Le Monde diplomatique, Télérama...), she moved to Marseille, where she became the editor-in-chief of the magazine 8e art. More recently, she has decided to devote herself to literary and artistic creation, through the writing of a novel and the design of an installation. In relation to her Caribbean origins, these two works in progress address transmission and multi-ethnic issues.

Born in 1972 in Gardanne, Jean Baptiste Ganne lives and works in Nice. (De)formed first at the Ecole Nationale de la Photographie in Arles then at the Villa Arson in Nice, he experiments with various ways of expression and does not hesitate to marry genres: writing, performance-readings, sound installations, photography, video. His activity as an artist articulated around the "representation of the political and the politics of representation" such as, for example, in <em>the Illustrated Capital</em> (a photographic illustration of Marx's book). It is a matter of questioning more precisely the dialectics between image and language. A pluridisciplinary artist, he has also endeavours to favour the encounters between artists and disciplines like within La Station in Nice, an artists' collective in which he is one of the leaders, especially since its re-opening at the slaughter house of Nice in 2009. Artist-in-residence at the Rijksakademie in Amsterdam in 2003 and 2004, he was a guest at the Villa Medici between 2006 and 2007. He is now Professor at Villa Arson, Nice, since 2012.

Raphaëlle Giangreco is an art critic and pharmacist. Since 2009, she has been conducting research into ‘disappearance as an artistic gesture’, whether it be covering up, destruction, theft, vandalism, or the pure and simple disappearance of the artist themself. Taking her historic inspiration from Robert Rauschenberg’s work ‘Erased De Kooning’, 1953, she investigates how disappearance accompanies, in a theoretical and formal manner, the creation of our time.

Hélène Giannecchini is writer and teacher in art schools (Ecole européenne supérieure de l’image de Poitiers-Angoulême et Beaux-arts de Marseille). She teaches history and theory of art.

Géraldine Gourbe is a philosopher, critic and art curator. She specializes in the Southern California art scene, the history of radical pedagogies and inclusive feminism. She has taught philosophy of art at ENSAD, the University of Metz, Sciences Po Paris, and the Beaux-arts of Marseille and Annecy. In 2018 she curated an exhibition at the Villa Arson in 2018 around the work of Judy Chicago and West Coast in the 1960s, entitled "Los Angeles, the cool years". Since 2015, she has been working on a counter-reading of the history of ideas and art in France from 1947 to 1989 in partnership with the art historian Florence Ostende. Her research led to the curating of the first edition of the Dunkerque Giganticism Art and Design Triennial. She co-signed with Hélène Guenin the exhibition at the Musée d'Art Moderne et d'Art Contemporain de Nice She Bam Pow POP Wizz : les amazones du Pop, May-September 2020. She has published a collective book on the alternative scene in Los Angeles In the Canyon, Revise the Canon, utopian knowledge, radical pedagogy, and artist run spaces in Southern California, Shelter Press, Rennes and a monograph on the artist Judy Chicago, To Sustain the Vision, Shelter Press, Rennes & Villa Arson, Nice (March 2020).

Agnieszka Graff is senior lecturer at the Centre of American Studies at the University of Warsaw, member of the Congress of Polish Women and co-founder of the feminist organisation "Porozumienie Kobiet 8 Marca." Author of several books, essays and articles on women's rights and gender in Polish public discourse, as well as many articles on feminist thought, she is currently working with the sociologist Elżbieta Korolczuk on a book on international activism against gender theory and the links of such opposition with right-wing populism.

María Luisa Grau Tello (born in 1983 in Spain) is a curator at IAACC Pablo Serrano, Saragossa. She has a PhD in Art History from Universidad de Zaragoza. Her researches have focused on public art and the development of mural painting in urban areas, paying special attention to the community murals that blossomed during the Spanish transition to democracy. She is a member of the Universidad de Zaragoza’s research group Observatorio Aragonés de Arte en la Esfera Pública (funded by Gobierno de Aragón with ERDF). She curated the exhibition Pablo Serrano. Retratista retratado [A Portrait Artist Portrayed] at IAACC Pablo Serrano in 2018-2020, and took part in the curation of Cielos Abiertos. Arte y procesos extractivos de la tierra [Open Skies. Art and Processes of Extracting from the Earth], at Centro de Arte y Naturaleza-CDAN, Huesca, in 2019-2020.

After studying public policy at Sciences Po in Paris and literature at the University of Melbourne, Charlotte Groult is now editor for the Maison des sciences de l'homme in Paris. She is dedicated in particular to the publication of books combining anthropology, photography and cinema, including Vivre avec les dieux. Sur le terrain de l’anthropologie visuelle, by Marc Augé, Jean-Paul Colleyn, Catherine De Clippel and Jean-Pierre Dozon. She also edits two academic journals in the humanities and social sciences published in English (Social Science Information, Violence: An International Journal). Charlotte Groult, as former officer for books and ideas for the French Embassy in Canada, lived in Toronto for nearly a year and a half between 2016 and 2017. She has also worked with publishing houses in France, as well as for several months in the editorial department of an American literary magazine based in New York, The Paris Review.

Appointed director at MAMAC (Museum of Modern and Contemporary Art) in spring 2016, Hélène Guenin curated since then Gustav Metzger. Remember Nature (February 2017); A propos de Nice. 1947 – 1977 (Summer 2017); a survey show of Liz Magor (November 2017 – coproduction Migros Museum, Zurich; Kunstverein, Hamburg); Cosmogonies a multidisciplinary and historical group show focused on ecological issues and co-creation with Nature from Yves Klein to Thu-Van Tran; an exhibition focused on the interrelations between art and cinema in the 1960s: Le diable au corps. Quand l’Op art électrise le cinéma (Summer 2019 with Pauline Mari), and more recently, Lars Fredrikson with NMNM (with Rébecca François, 2019) ; and She-Bam Pow POP Wizz! The Amazons of POP (with Géraldine Gourbe, Oct 2020).Former chief curator at Centre Pompidou-Metz from 2008 to 2016, she developed there a multidisciplinary artistic program proposing a constant dialogue between the visual arts and the performing arts. She curated there, among others: Sublime. The tremors of the world; An Imaginary Museum with Tate Liverpool (Francesco Manacorda) and MMK Frankfurt (Peter Gorschlüter) ; Tania Mouraud. A Retrospective; Lines. A brief History; Wander – Labyrinthine variations with Guillaume Désanges. From 2002 to 2008 she was curator at Frac Lorraine and assistant curator at Casino Luxembourg – Forum d’art contemporain in 2001.

Alexandra Guillot's work does not adhere to a particular medium, it transcends from medium to media across performance, sculpture, drawing, photography, installation and video, in an attempt of setting up each time a world built by fragile but tough impressions. An immersed universe resurfaces, bearing a strange atmosphere. There’s a mysterious language form to be heard here, an unknown grammar which oddly resonates to make sense. The margin, the night, the ghosts, the supernatural are some of the elements composing Alexandra Guillot's work, as if we had to see the hidden side of all things. While making us look outside the framework, the artist gives the feeling that the tangible side of this world only contains a tiny part of existence. Her personal and sensitive work tells about her poetic relationship with reality and help experience an invisible nocturnal territory.

Léo Guy-Denarcy is currently curator and critic. He has been associate curator with Sextant et plus at La Friche La Belle de Mai (Barnum, FOMO). He was coordinator of several monographic publications (Pierre Huyghe, exposition radicale, Semaine) et participate to various publications (Art 21, 02). He was in charge of 2008-2009 talks from Connaissance de l’art contemporain.

Ágnes Horváth  (born in 1949, in Budapest) has led a career as a French professor in various higher education institutions after studying Russian and French at the Loránd Eötvös University in Budapest. Her most prominent seminars are on Beckett, Proust and Dostoyevsky. She gathered together a group of translators, recruited from among her former French students, who translated three of Beckett’s most important plays: Waiting for Godot, Endgame, and Happy Days. She also revised the Hungarian translation of the last two volumes of Marcel Proust’s In Search of Lost Time. As an art critic, she works mainly for 2B Gallery, focusing on Jewish presence in contemporary art.

Editor-in-chief of the review art press (1991-1999), member of the editorial board of the Revue Perpendiculaire (1995-1998), he is a professor at ENSBA Paris. Among other exhibitions: Topographies de la guerre, Le Bal, Paris, 2011; La Force de l’art, Grand Palais (with J.-L. Froment and D. Ottinger), 2009; L’Idiotie, Expérience Pommery # 2, Reims, 2005; Histoire de l’infamie, Biennale de Venise, 1995; Un art contemporain d’Afrique du Sud, La Défense, 1994. Among other publications : Artistes sans œuvres (1997); L’Idiotie (2004); L’Usage des ruines (2012); MOAB, Épopée en 22 chants (2018). Since 2008, he has been devoting himself to the series of conferences, the Encyclopedia of Wars, a monthly event at the Centre Pompidou.

Joana Hadjithomas and Khalil Joreige are movie directors and visual artists. Ranging from documentaries (Khiam, Le Film Perdu, The Lebanese Rocket Society) to fictions (A Perfect Day, Je Veux Voir), their films are adventures that place them in a singular category in the worlds of film and art. Their photographic installations, sculptures and videos, produced from personal and political documents, tell the tale of stories kept secret by mainstream History. Their works rely on both imaginary foundations and contemporary narration, and are shouldered by their experiences in their homeland, while going beyond its frontiers.

Christophe Kihm is a professor at HEAD-Geneva.

Arnaud Labelle-Rojoux is an artist born in 1950. He was first known for his performances, before writing about them as a historian in his book L'Acte pour l'art (Editeurs Evidant, 1988; new edition, Al Dante, 2004). He has published ten books, including L’Art parodic’ (Java, 1996; new edition Zulma, 2003), Leçons de scandale (Yellow Now, 2000), Je suis bouleversé (Semiose, 2008), and Twist tropiques (Loevenbruck and Yellow Now, 2013). He has exhibited regularly at the Loevenbruck Gallery in Paris since 2003 (in 2017: En affinité(s) : Apple Shrine / Allan Kaprow / Arnaud Labelle-Rojoux). He has also participated in the exhibitions Notre Histoire, Palais de Tokyo, 2006; La Force de l'art 02, Grand Palais, Paris, 2009; Une forme pour toute action, Le Printemps de septembre, Toulouse, 2010; Les Maîtres du désordre, Musée du quai Branly, 2012; Le Surréalisme et l’objet, MNAM, Centre Georges Pompidou, Paris 2013. He occasionally writes for the theatre with Sophie Pérez and Xavier Boussiron: Le coup du Cric Andalou in 2005, Oncle Gourdin, 2011, and Biopigs, 2015.

Dr. Déborah Laks is Research advisor at the German Center for Art History, and associate researcher at Sciences Po’s History Center. She teaches at the Panthéon-Sorbonne University, Sciences po, and École du Louvre. She is the author of Des déchets pour mémoire. L’utilisation de matériaux de récupération par les nouveaux réalistes (1955–1975) (2017).

In 1970, at the age of 6, Emmelene Landon left Australia with her family on the Marco Polo across the Pacific from Sydney to Yokahama and then to Nahodka on a Russian ship. They traversed the Soviet Union on the Trans Siberian Railway, spending three years in England before living five years in New York, and settled in France in 1979. She studied painting under Leonardo Cremonini at the Paris School of Fine Arts, and took the Trans Siberian again in 1988 to write and paint in China. In 2001, she boarded the Manet, a 35,500 ton container ship, on a round-the-world route. She wrote Le Tour du monde en porte-conteneurs, published by Gallimard, in 2003. This trip solidified her fascination for all things maritime; this theme is present in her work as a writer, painter, radio producer and video maker. Emmelene Landon was camera operator on her husband Paul Otchakovsky-Laurens’s two films, Sablé-sur-Sarthe, Sarthe, 2009, and Éditeur, 2017. Among the videos she has directed: Australie mère et fille, 2004, Le Fantastique Voyage du conteneur rouge, 2005, I don’t want to miss a thing, 2012. She continues to paint and exhibit her work internationally. In 2006, Susanne, Peintures de Susanne Hay, and in 2007, Le Voyage à Vladivostok, were published by Léo Scheer. La Tache aveugle, 2010, and Portrait(s) de George, 2014, were published by Actes Sud. La Baie de la Rencontre, 2017, and Marie-Galante, 2018, are published by Gallimard.
Emmelene Landon was elected a member of the French Naval writers, in the footsteps of Simon Leys and Jean Rolin.

An art critic and exhibition curator, Sophie Lapalu is a graduate of the ‘Ecole du Louvre’ and ‘Ecole du Magasin’. She is currently finishing her doctorate at the Université Paris 8, where she now gives lectures after three years as an exhibition space coordinator at the ENSAPC, YGREC. She is a member of the editorial board of the magazine ‘Marges’, a correspondent for *DUUU radio, publishes regularly in ‘Quotidien de l’Art’ magazine and is the driving force behind various exhibitions.
sophielapalu.blogspot.fr

Nina Leger is writer and teacher in art schools (Ecole européenne supérieure de l’image de Poitiers-Angoulême et Beaux-arts de Marseille). She teaches history and theory of art.

Franck Leibovici has published quelques storyboards (ubu.com, 2003), 9+11 (ubu.com, 2005), des documents poétiques (al dante, coll. “forbidden beach”, 2007), portraits chinois (al dante, 2007), lettres de jérusalem (spam, 2012, with Joana Hadjithomas and Khalil Joreige),(des formes de vie), une écologie des pratiques artistiques (les Laboratoires d’Aubervilliers / questions théoriques, 2012), filibuster (une lecture) (Jeu de Paume, 2013), des récits ordinaires (with Yaël Kreplak and Grégory Castéra, les presses du réel, 2014). His latest exhibitions: des récits ordinaires (Villa Arson, 2014), beat generation (mnam, 2016), polyphonies (mnam, 2016), viva arte viva ! (Venice Biennale, 2017). Franck Leibovici and Julien Seroussi published bogoro ( Editions Questions Théoriques, 2016) and exhibited Muzungu in The text and its performances (Sztuki Bunker, Krakow, 2015) and Dreams and dramas (NGBK, Berlin, 2017).

Kim Levin is an American art critic and writer. Levin was a regular contributor to The Village Voice from 1982 to 2006. Since 2007 she has been contributing regularly to ArtNews. She worked as a correspondent to Opus International from 1973-1977. From 1980-1994, she was a correspondent at Flash Art. She also worked as a contributing editor for Arts Magazine from 1973-1992. Levin has also contributed to the publications; Parkett, Artstudio, Sculpture and VOIR, among others. Her essays are also in books and exhibition catalogues. Kim Levin received a B.A. from Vassar College and an M.A. in Egyptian Archaeology from Columbia University, Department of Art History and Architecture. She continued PhD course work at the New York University Institute of Fine Arts. Levin has lectured in the U.S. and internationally at: the Guggenheim Museum, The New School for Social Research, Barnard College, Brown University, the São Paulo Art Biennial, the Whitney Museum of American Art, the Museum of Contemporary Art, Chicago, the California Institute of the Arts, the Cincinnati Center of Contemporary Art, and other institutions. She has been a visiting professor at SVA, at Claremont College graduate school, and at HISK in Antwerp. Levin was Treasurer of AICA-USA (Association international des critiques d’art) from 1982-1984, Vice President from 1984-1990, and President from 1990-1992. She became Vice President of AICA International in 1991 and was elected President in 1996 for two terms, ending in 2002. In 2002, an installation of Levin’s preliminary notes written on press releases and gallery announcements, appeared in the solo exhibition “Notes and Itineraries,” at Delta Axis, Memphis, curated and installed by the artist John Salvest. The show was re-conceived at Ronald Feldman Fine Arts, New York (2006), and then traveled internationally to Haas & Meyer, Zurich (2006), The Ludwig Museum, Budapest (2007), KIASMA, Helsinki (2008) and was included in the group show “Retracing Exhibitions” curated by Kari Conte and Florence Ostendat at the Royal College of Art, London (2009).

Gail Levin is a Distinguished Professor of Art History, American Studies, and Women’s Studies at the Graduate Center and Baruch College of the City University of New York. The acknowledged authority on the American realist painter Edward Hopper, she is the author of many books and articles on this artist, including the catalogue raisonné and Edward Hopper: An Intimate Biography. Her work on twentieth century and contemporary art has won international acclaim, been widely published, and translated in Europe, Asia, and Australia. Articles range from theory of artists’ biographies to explorations of the intersection of American and Asian cultural studies. She has also focused on the art of women artists in historical context. Her interest in women artists led to biographies of Judy Chicago (2007) and Lee Krasner (2011). Theresa Bernstein: A Century in Art included a book published in 2013, a touring exhibition, and a comprehensive ongoing website, produced in collaboration with several scholars including her doctoral students at the CUNY Graduate Center, New York.

Shiyan Li is a Doctor in Artistic Sciences, member of the Asia & Pacific network (Paris) and member of the ‘Langages Artistiques Asie-Occident’ (Paris) inter-university research team. Her work relates to our perception of Far Eastern culture in contemporary western art, on the birth of Chinese contemporary art after the Cultural Revolution and the lexicographical study of Chinese art critic vocabulary in the 20th and 21st centuries, together with the translation difficulties it represents.

Éric Loret is an art critic and book reviewer. Former student of the École Normale Supérieure (Fontenay-Saint-Cloud), he has long collaborated to the Culture pages of the daily Libération while teaching (NYU, ECAL, UNIL). He has also been a columnist for La Dispute (France Culture). Author of Petit manuel critique (Les prairies ordinaires, 2015), he is currently writing for AOC, The Artnewspaper France, En attendant Nadeau and Le Monde des Livres.

Beral Madra lives and works in Istanbul. Since 1984 she has organized shows for more than 300 local and international artists in her art centres, in other official art spaces in Istanbul, Ankara, Diyarbakır and in Baku, Bari, Berlin, Creta, Huarte, Krakow, Los Angeles, Moscow, Munich, Sofia, Tbilisi, Venezia... She founded and directed Gallery BM from 1984 to 1990 and BM Contemporary Art Centre since 1990. BM CAC is currrently archive (5000 books, 250 exhibition boxes, artist portfolios and a hub of diapositives from 1979-1990) by appoimntment. With her partners she founded and directed BMSUMA, Karaköy (2007-2010) and KUad Gallery , Beşiktaş(2011-2016). She coordinated and curated the 1st and the 2nd Istanbul Biennale (1987 and 1989), curated the Pavilion of Turkey in the 43rd, 45th, 49th, 50th and 51st Venice Biennale, and the Central Asia Pavilion in 2009 and Azerbaijan Pavilion in 2011. She co-curated the exhibition Modernities and Memories: Recent Works from the Islamic World (1997), Alanica Symposium and Exhibition, South Ossetia (2013), 1st-3rd Sinopale, the 3rd and 4th Çanakkale Biennale (2012-2014), co-curated 8th Bucharest Biennale (2018). From 2008-10 she was the visual arts director of Istanbul 2010 ECOC and conducted the major project www.supremepolicy.blogspot.com. She mentored 60 artists for the Istanbul Scholarship of Berlin Senate (1995-2013) and, since 2003. She was the founder and honorary president of AICA Turkey (2003). www.beralmadra.net

Arnaud Maguet is an artist and professor at Villa Arson in Nice, head of the project Méta Musique Machin. He is a non-musician in Brian Eno’s sense of the term and sometimes an author in his own sense of the term. One might say that, like others, his practice is a kind of cable-car connection between the summits of the 20th century avant-garde and the gutters of underground culture, but that would sound horrendously pretentious and extremely reductive. What is true, however, is that by re-appropriating what he could from techniques that he clearly does not master, he has shown work at MAC/VAL, Plateau, Centre Georges Pompidou, MAMAC in Nice, the Musée Départemental d’Art Contemporain de Rochechouart, friche Belle de Mai in Marseille, and even at Confort Moderne in Poitiers. His work has also been shown in the USA, Japan, Canada, Morocco, England, Spain, Ireland, Switzerland, Germany and Italy. His pieces are present in various public collections (CNAP, FRAC Île-de-France, PACA and Occitanie, Musée de Rouchechouart…) and in a few private collections. He is currently represented by Sultana gallery in Paris. He also created the atypical music label Les Disques en Rotin Réunis (www.ldrr.com) with contributions by Super Reverb, Bader Motor (his band with Fred Bigot and Vincent Epplay), Hifiklub, Jad Fair, The Legendary Tigerman, Talweg, Jac Berrocal, Arnaud Labelle-Rojoux, Jean-Marc Montera, Jean Dupuy, Jean-Luc Verna, Céleste Boursier-Mougenot, and others… He has also recorded several of his own solo albums under various pseudonyms and directed several film portraits: in 2012 of R. Stevie Moore in Nashville I Am A Genius (And There’s Nothing I Can Do About It), in 2013 of Alain Johannes in the Mojave desert (California) Plans Make Gods Laugh, and in 2016 of Lee Ranaldo in New York In Doubt, Shadow Him!He also directed Last Suns, a futuristic movie shot during an artist residency in Morocco, and is now working on a new film-portrait that you will know about the subject in due time.

Éric Mangion has been the director of the Villa Arson art center since 2006. There he hosted and organized numerous solo exhibitions, notably for Eva Barto, Sonia Boyce, Monster Chetwynd, Judy Chicago, Jeremy Deller, Jean Dupuy, Brice Dellsperger, Ryan Gander, Bernard Heidsieck, Emmanuelle Lainé, Zoé Léonard, Flora Moscovici, Roman Ondak, Linda Sanchez, Tatiana Trouvé, as well as group exhibitions such as Ne pas jouer avec des choses mortes, Go Canny! Poétique du sabotage, Double Bind / Arrêtez d’essayer de me comprendre!, Acclimatation, À moitié carré/À moitié fou, Transmission and À la vie délibérée. He was the director of Frac Provence-Alpes-Côte d’Azur from 1993 to 2005, during which time he oriented part of the collection toward evolutive works. He also was the independent head and co-curator of many exhibitions, including: Self in Material Conscience, Fondation Sandretto in Turin, 2002 ; Artur Barrio: Actions After Actions at the University of Philadelphia, 2006 ; Recommencer, Commencer de nouveau la peinture by Gérard Gasiorowski, Carré d’art in Nîmes, 2010 ; Modules (Thomas Teurlai, Vivien Roubaud and Tatiana Wolska), Palais de Tokyo, Paris, 2014 ; La voix libérée – Poésie sonore, Palais de Tokyo, Paris, 2019 ; Parties sans éteindre la lumière (Pauline Curnier Jardin and Marie Losier,) Fondation d’entreprise Ricard, Paris, 2019. He was also the artistic director of the Printemps de Septembre festival 2010 (Une forme pour toute action) and artistic advisor on the Live festival in Vancouver, 2011. A member of the dance commission for the Ministry of Culture from 2013 to 2016, he has presided over the Actoral and Montévidéo festivals (Marseille) since June 2017. As an art critic contributing to several publications, in 2007 he oversaw the artistic direction of the journal Fresh Théorie III. He is the co-founder and editor-in-chief of the online magazine Switch (on Paper)

After engaging in research as a specialist of Tribal Art on the Indian sub-continent, Julia Marchand obtained a Master of Fine Arts, Curating, at Goldmiths’ College, University of London. In 2015, she joined the staff of the Vincent van Gogh Foundation in Arles, where she is Associate Curator today. Julia Marchand worked alongside Bice Curiger on the La Vie Simple - Simplement la Vie exhibition in 2017, and organised the James Ensor & Alexander Kluge: Siècles Noirs exhibition presented in 2018. She also pursues her activity as an independent exhibition curator through her platform Extramentale, founded in 2016 and centred on young European creators. She has organised exhibitions and lectures abroad, in particular at the Swiss Church in London, Stereo Gallery in Warsaw, Louis Vuitton Foundation and Quai Branly Museum in Paris and during the Art Basel in Hong Kong in partnership with the Asia Art Archive Open Platform.

Lauren Mele is an artist, writer and researcher based in London. Her writing and research focus on contemporary art dealing with politics of objective image production. She is a MFA graduate in contemporary art at Sotheby’s Institute of Art London (2010). Recent content and research contributions include “Zarina Bhimji: Lead White,” Tate Britain (2019); Serpenti in Arte (2016); Art and Politics Now (2014); Suspended (2013).

Pierre Meunier is a French playwright and director, an atypical personality from the theater and circus world. In March and April 2010, he flew aboard the Airbus Zero-G, as part of the Writers in zero gravity residence. After a first collaboration in 2008 with the Observatoire de l’Espace, Pierre Meunier is the third artist to participate in this residency, which gave him the opportunity to report on his experience and the artistic research he conducted aboard the aircraft. Pierre Meunier has been working for a long time on the struggle between Léopold Fliegestein, the character he plays on stage, and his declared enemy, gravity.

Luba Michailova is the founder of Izolyatsia, a non profit multi-disciplinary platform for cultural initiatives in Ukraine. The Izolyatsia foundation supports a wide variety of projects aiming to educate, debate and activate the ukrainian creative sphere with culture.

Anne Charlotte Michaut is an art historian with a multidisciplinary educational background. She first specialised in English literature during two years of preparatory cycle in literature. Then she received a Bachelor of Art in French Literature at Paris- Sorbonne University and started studying Art History at École du Louvre (bachelor’s degree) and Panthéon-Sorbonne University (Master’s degree). Through her research and various work experiences in the cultural field, she explored the links between contemporary art and other human sciences, especially Gender Studies and anthropology, as well as literature, but also other artistic practices, such as architecture and design. She now writes for several magazines and develops an approach to contemporary art in relation to societal issues, and more specifically issues related to identity, gender and sexuality.

Fereshte Moosavi, is an independent curator and educator based in London with PhD from Curatorial/Knowledge programme, Visual Cultures Department of the Goldsmiths University of London. Her thesis entitled Studying Curatorial-Abilities; Environmenting, Improvising, & Inhabiting State of Affairs proposes a set of abilities that has the potential to resituate curatorial thinking and expand practices of curation as creative processes. From April 2011 to September 2018 she has worked as the art director and curator of the MOP Foundation, a non-profit organisation based in London that provides different educational and representational programmes for Iranian artists.

Moosavi is the founder of ​Curatorial in Other Words, an ongoing research-based project initiated in December 2015 in Tehran in collaboration with Charsoo Honar. Moosavi has curated a number of research-based exhibitions including: Two-Way Street, Dance Dance Dance 2019-2020, Bermondsey Project Space, London; Contemporary Iran: A historiographical Review on the ​Relation Between Art and Public in Iran, Art Monte-Carlo, 2018; Animal Party, Kamil Gallery, Monaco, 2018; Ali Akbar Sadeghi: A Retrospective, Tehran Museum of Contemporary Art, 2018; and Trans-Transfiguration: Sheikh Saafi’s Anecdote and any Expandable Thing, Lajevardi Foundation, Tehran, 2017. Moosavi has thought at Goldsmiths University, 2014-2016, and Essex University, 2011 and published a number of books and essays.

Nathalie Moureau is Professor of cultural economics and Vice-President of Culture, University of Paul Valery Montpellier, France. She has published different books and various papers on the contemporary art market. She has also conducted several researches for the French Ministry of Culture and Communication. Among her recent publications Le marché de l’art contemporain, ed. La Découverte (in collaboration with D. Sagot-Duvauroux) and Contemporary Art Collectors : The Unsung Influences on the Art Scenes [CE-2015-1] DEPS (in collaboration with D. Sagot-Duvauroux and M.Vidal).

Estelle Nabeyrat is a curator and independent art critic. She has curated several exhibition projects such as recently at the Quadrado Azul Gallery in Lisbon, the Neuer Aachner Kunstverein in Aachen and the Museu da Répúblicà in Rio de Janeiro. She is currently preparing a solo exhibition on Elisa Pône to be held in 2020 at the Lisbon Municipal Galleries. Her texts have been published in numerous journals and newspapers including Contemporanea (in Portuguese) Texte zur Kunst (in German) and L'Hebdo du Quotidien de l'art. In particular, she co-edited the book Réalité du commissariat at the Beaux-arts de Paris publishing house. She worked at the Akademie der Bildende künste in Vienna as assistant to Professor Ute Meta Bauer, then at the ENSBA (Ecole Supérieure des Beaux Arts) in Lyon as coordinator of external relations, then at the Ecole Supérieur d'Art et de Design in Reims as head of studies and at the Magasin arts centre in Grenoble as head of the curatorial programme. She was also curator for the Orange Rouge residency (2013-14), Production Manager at the Performa Biennial in New York (2015), and assistant to the artist Pier Paolo Calzolari in Lisbon (2016-2018). In 2009, she won a grant from the Houston Museum of Fine Arts before becoming curator in residence at the Palais de Tokyo (2010-11) and Capacete Brazil (2011). In 2012, she received a research grant from the Cnap (French national centre for visual arts) for a work on Anthropophagy at the archives of the Sao Paulo Biennale. In collaboration with Pedro de Llano, she has just completed a research project on artists in exile from Latin America and the Caribbean in the Cnap collection.

Rosemary O’Neill is an art historian specializing in French and American art in the second half of the twentieth century. She is the author of Art and Visual Culture on the French Riviera, 1956-1971 (Ashgate, 2012), co-editor of Art as Adventure: Going Beyond (Cambridge Scholars Publishing, 2017); and the book chapters: “Agnès Varda’s du Côté de la Côte: Place as ‘Sociological Phenomenon’” (Bloomsbury, 2018); “La Cédille qui Sourit: aesthetic research under the ‘sign of humor’,” (Ashgate 2012); and “Le ‘naturalisme intégral’ de Pierre Restany: la perception disciplinée et la dématérialisation de l’objet” (INHA/Éditions des Cendres, 2009). She has contributed essays to the following museum publications: Posco Art Museum, Seoul; Corcoran Museum of Art, Washington, D.C.; South Bank Center, London; and the Musée d’Art Moderne et d’Art Contemporain, Nice. She is a professor at Parsons School of Design – The New School, NY.

Éric Mangion has been the director of the Villa Arson art center since 2006. There he hosted and organized numerous solo exhibitions, notably for Eva Barto, Sonia Boyce, Monster Chetwynd, Judy Chicago, Jeremy Deller, Jean Dupuy, Brice Dellsperger, Ryan Gander, Bernard Heidsieck, Emmanuelle Lainé, Zoé Léonard, Flora Moscovici, Roman Ondak, Linda Sanchez, Tatiana Trouvé, as well as group exhibitions such as <em>Ne pas jouer avec des choses mortes, Go Canny! Poétique du sabotage, Double Bind / Arrêtez d’essayer de me comprendre!, Acclimatation, À moitié carré/À moitié fou, Transmission and À la vie délibérée. </em> He was the director of Frac Provence-Alpes-Côte d’Azur from 1993 to 2005, during which time he oriented part of the collection toward evolutive works. He also was the independent head and co-curator of many exhibitions, including: <em>Self in Material Conscience</em>, Fondation Sandretto in Turin, 2002 ; <em>Artur Barrio: Actions After Actions</em> at the University of Philadelphia, 2006 ; <em>Recommencer, Commencer de nouveau la peinture</em> by Gérard Gasiorowski, Carré d’art in Nîmes, 2010 ; <em>Modules</em> (Thomas Teurlai, Vivien Roubaud and Tatiana Wolska), Palais de Tokyo, Paris, 2014 ; <em>La voix libérée – Poésie sonore</em>, Palais de Tokyo, Paris, 2019 ; <em>Parties sans éteindre la lumière</em> (Pauline Curnier Jardin and Marie Losier,) Fondation d’entreprise Ricard, Paris, 2019. He was also the artistic director of the Printemps de Septembre festival 2010 (<em>Une forme pour toute action</em>) and artistic advisor on the <em>Live</em> festival in Vancouver, 2011. A member of the dance commission for the Ministry of Culture from 2013 to 2016, he has presided over the Actoral and Montévidéo festivals (Marseille) since June 2017. As an art critic contributing to several publications, in 2007 he oversaw the artistic direction of the journal <em>Fresh Théorie III</em>. He is the co-founder and editor-in-chief of the online magazine Switch (on Paper). Luc Clément acquired extensive experience in communication at major groups (Havas, Publicis) and independent structures before forming his own agency in Nice. An expert in brand name history, he possesses solid skills in the world of creation. In 2001, he founded 'Le Dojo', an experimental contemporary art space where he collaborated with numerous artists and musicians on in situ projects, throwing bridges and prompting interactions between the artistic sphere and private business. These collaborations put the spotlight on various original artists such as Céleste Boursier Mougenot, Matthieu Mercier, Nicolas Moulin, Vincent Epplay and, in association with Arnaud Maguet, performances by Jac Berrocal, Xavier Boussiron, Lee Ranaldo, Aki Onda and many more. He is now Associate Editor and Head of Publication for the magazines Marie Claire and Marie Claire Maison Méditerranée.

Vittorio Parisi holds a doctorate in Aesthetics from the University of Paris 1 Panthéon-Sorbonne and is currently in charge of studies and research at the Villa Arson school of visual arts in Nice. His research activity focuses on the relationship between art and urban non-places, as well as on the relationship between street art, the institutional world of art and the cultural industry.

Patrizio Peterlini is currently director of the Fondazione Bonotto. He has a degree in modern literature and clinical psychology and a Master of Advanced Studies in “Concept and Clinical Psychoanalysis” (with a thesis on psychoanalysis and contemporary art). He is a psychanalyst and professor of art psychology at the Academia anta Giulia de Brescia. From 2005 to 2010, he worked at the F. Conz Archives, where he organized the cataloguing of works and documents and supervised exhibitions and publications. His contributions have been published art catalogues and psychoanalytical reviews, such as:
Riviste d’arte d’avanguardia. L’esoeditoria in Italia negli anni 60 e 70″ (with Giorgio Maffei, 2005); Sarenco : le riviste, la lotta. Storia di un esploratore d’avanguardia (2006); Poesia visiva in Italia (with Achille Bonito Oliva, 2014); Fluxbooks. Fluxus Artist Books from the Luigi Bonotto Collection (with Giorgio Maffei, 2015); Arrigo Lora Totino. La parola come poesia segno suono gesto. 1962-1982 (avec Giorgio Maffei, 2015); Sense Sound / Sound Sense. Fluxus Music, Scores and Records in the Luigi Bonotto collection (with Walter Rovere and Giorgio Maffei, 2016). He directed films in collaboration with Piero Matarrese: La Perf En Fin. La recherche de Julien Blaine (2008) and Around Poetry #1 (2015).

Sasha Pevak (born in 1988 in Moscow) is an art-researcher and independent curator. He lives and works between Paris and Moscow. PhD student and lecturer at Paris 8 University, Sasha Pevak is particularly interested in the relationship between art and power and is currently writing a thesis entitled “The Body of Artist as a Place of Resistance in Soviet and Russian Art After 1974″, under the direction of Prof. Jérôme Glicenstein. After graduating from Lomonosov Moscow State University and Paris-Sorbonne University, Sasha Pevak worked at Monumenta (2014) and at Le frac île-de-france – le plateau (2015). In 2016-2017, he was a member of the Editorial Board of the magazine Marges. Between 2015 and 2018, he participated in numerous conferences and curated exhibitions; in 2017, he co-curated The Opposing Shore at the 7th Biennale of Contemporary Art in Moscow, and in 2018 a Carte blanche of the Ukrainian artist Nikita Kadan at the Gallery Jérôme Poggi in Paris. He was also a guest curator in residency at the GENERATOR in Rennes (March 2017), the CCI Fabrika in Moscow (September 2017) and Thankyouforcoming/ACROSS in Nice (December 2017). In 2018, he presented a project to Michael at DOC! (in the frame of the festival Jerk Off, Paris, September 2018) and a show The Border is a State of Mind for the Gallery Jérôme Poggi and the FIAC in October-November 2018.

A graduate from the Villa Arson school of art in 2015, Jérémy Piette is an artist and journalist. He wrote on culture in the French newspaper Libération for 3 years (2016 – 2019) and occasionally for Vogue Homme and Les Cahiers du Cinéma. Today, he still is a regular collaborator for Libération while pursuing his artistic work.

Valérie Pihet is dedicated to research and experimentation on the relationships between the arts and human & social sciences. For 5 years, she directed the arts & politics experimental programme (SPEAP), co-founded in 2010 with philosopher Bruno Latour – her partner in crime since 2002. She has, in particular, coordinated the Iconoclash exhibitions, Beyond the Image Wars in Science, Religion and Art (ZKM, 2002), Making Things Public, Atmospheres of Democracy (ZKM, 2005) and the creation and development of the prestigious Sciences-Po school media lab. Alongside writer Alice Rivières, she co-founded the association Dingdingdong in late 2012, furthering research into Huntington’s disease. She is part of the steering committee for the ‘Forum des Vies Mobiles’ – a research institute formed by SNCF and the research group Parse (Platform for Artistic Research Sweden). She is also the president of ‘Council’, directed by Sandra Terdjman and Gregory Castera.

Armelle Pradalier is an historian of art. She worked in the curatorial team of the Dia Art Foundation of New York from 2000 to 2006. She was then Director of Visual Arts at the cultural services of the Embassy of France in the United States and head of the program “Etant donné pour l’art” (2008-2012). Since October 2017 she is responsible for exhibitions at the Beaux-Arts school in Paris.

A founding member of the journal Perpendiculaire, Laurent Quintreau works in advertising and directs Betor-pub, the cfdt union for the new economy. He is the author of an essay, four novels and regularly publishes opinion pieces on the topics of current developments in justice, economics and society (Le Monde newspaper, esprit and cadres cfdt magazines…). He is also a member of the jury GESTES (Groupe d’Etudes Sur le Travail et la Souffrance au Travail – a research group on work and workplace suffering) for the “Ecrire le travail” competition and regularly gives talks in universities. His literary and theoretical activity is nourished by a diverse range of materials that he collects through his dual life as a salary-paid employee and a union head: a meeting of eleven higher-ups around a table where hell, purgatory and heaven outline the space-time like in Dante’s Divine Comedy (Marge brute, Denoël, 2006); a mystical crisscross where Tibetan monks meet managers, neurologists and artists in search of radical esthetic experiences (Mandalas, Denoël, 2009); life and death of a small fly crossing through space and periods of reign (La chimie des trajectoires, Rivages, 2014); exploring how work affects subjectivity (Le moi au pays du travail, Plein jour, 2015). In Ce qui nous guette, published in April 2018 (Rivages), the lives of ten characters are upended time and time again at the mercy of a completely insane and exponential logic of algorithms.

Olivier Quintyn was born in 1978 in Porto Alegre, Brazil. He studied at the École Normale Supérieure (Fontenay/Saint-Cloud). Holder of an Aggregation higher degree in French language and literature, he taught Aesthetics and Art History at the University of Rennes II and now teaches Literature at the Lycée Jacques Monod in Clamart (Hauts-de-Seine). Since 1997, he has been disseminating reports and “poetic documents” on international geopolitics in the framework of his Project [S.V.P.]: publications in reviews, collective books, performances, posters, and the distribution of flyers in public areas. In his editorial unit Questions Théoriques, he animates the philosophical collection known as “Saggio casino”. He has also written three theoretical works: Dispositifs/Dislocations. Essai sur le collage (Al Dante, 2007), Valences de l'avant-garde. Essai sur l'avant-garde, l'art contemporain et l'institution (Questions Théoriques, 2015), and Implémentations/Implantations : pragmatisme et théorie critique. Essais sur l'art et la philosophie de l'art (Questions Théoriques, 2017).

Bénédicte Ramade holds a PhD from Sorbonne University (Paris, France), specializing in the history of ecological art in the United States (The Misfortunes of Ecological Art in the U.S. since the 1960s. Proposition for a Critical Rehabilitation). As art historian and critic specialized in contemporary art, she has spent the past fifteen years analyzing environmental issues. In 2009, she curated the group exhibition Acclimatation at Villa Arson (Nice) and edited the accompanying catalogue, which analyzed the relationships between nature and culture. In 2010–2011, she addressed the idea of recycling in contemporary art practices in the group exhibition Rehab, The Art of Re-Do, at Fondation Edf (Paris). Recently, she was the curator and catalogue editor of The Edge of the Earth: Climate Change in Photography and Video, an exhibition for the Ryerson Image Centre in Toronto (September 14 – December 4, 2016) that looked underneath the ecological appearances of the Anthropocene era. She lives and works in Montréal, and has been appointed a postdoctoral fellowship at Université de Montréal, where she is a lecturer in Art History.
umontreal.academia.edu/BénédicteRamade

Georgia René-Worms graduated from Villa Arson in 2014. In 2016, she joined the curatorial studies programme at the Ecole du Magasin in Grenoble. Between 2016 and 2017, she conducted research on the relationship between the Italian art scene of the 1960s and 1970s and feminist activist groups. She was a member of the 2017-2018 session of postgraduate course at the ENSBA, Lyon. In 2019, she was the first prize-winner in the Villa Champollion programme at the French Institute in Cairo (Egypt). Her practice is organic, multiple, and extends beyond mere artistic creation to encompass writing and curating, multiplying experiences around her research subjects from the perspective of feminist criticism. In her work, the main challenge is to analyse the centre from the margins and to take into account the pluralities of identity rather than its purely social value. Her texts are in keeping with New Narrative, in which the author strives to present her subjective experience honestly without guaranteeing an absolutely objective text.

Camille Reynaud is a graduate of the Ecole des Hautes Etudes en Sciences Sociales (EHESS) in Paris. For the past two years, she has been living in Le Havre where she has been exploring other forms of writing as part of a master's degree in creative writing. Two projects have thus emerged: a first autobiographical narrative based on the model of sociological investigation, by successively going back and forth between individual and collective through the multiplicity of narratives and life stories, and the crossing of various documentary sources - photographs, court records, medical reports, statistical data, testimonies and press articles; a text/image diptych at the intersection of Vivian Maier's work with family photos and her own photographic practice.

Camille Richert is a graduate of the École Normale Supérieure de Lyon in contemporary history. Her first research work in social history focused on women workers in the inter-war period. After a stint at the École du Louvre, she began a doctoral thesis in 2016 under the supervision of Laurence Bertrand Dorléac at Sciences Po – Paris, where she lectures in history at the Collège Universitaire. Her research work focuses on representations of work in art since 1968. In the vein of the social history of art, she articulates art history with history, anthropology or sociology to weave a visual history of work-related gestures and emotions from the decline of Western political ideologies to the present day. She also worked as an editor at Lafayette Anticipations – Fondation d’entreprise Galeries Lafayette (2014-2018), where she was in charge of publishing the institution's first books and coordinated the ReSource project, a tool for documenting contemporary art production. As an art critic, she regularly collaborates with various public and private institutions as well as magazines. This article is her third publication in Switch (on Paper).

Christian Rinaudo is a sociologist, lecturer at the University of the Côte d'Azur and researcher at URMIS (Migration and Society Research Unit). His research interests include the production and expression of differences in the urban space, cultural dynamics in multi-ethnic societies and, in the context of globalization, migratory phenomena and processes of otherness. His current work focuses on the articulation between the dynamics of mobility/blockage of artists (tension between free movement and residency) and the processes of otherness in Europe. At the same time, he directs one of the components of the Côte d'Azur University, the Graduate School ODYSSEE (Origins and Dynamics in Social and Environmental Sciences), which analyses the relationship between society and the environment from the perspective of interdisciplinary reflections in social and environmental sciences.

After a degree at the Sorbonne and a Master’s degree of Arts at the University of Saint-Etienne, Isabelle Rodriguez committed herself in a second cycle at the Nîmes' Art School where she passed a National Postgraduate degree in Graphic Arts in June 2017, with the jury's congratulations. She develops stories that she delivers orally, presenting archives - photographs, films, acts of civil or judicial registry - and relating her expeditions across Europe in search of history’s forgotten figures. She chooses to explore further her link to writing by integrating the Master’s degree of literature creation in Le Havre, jointly offered by the University and ESADHaR. Today and in this context, she works on writing a novel that tells, among other things, how an orphanage was completely decimated by the Spanish flu, while going on with her graphic work in her studio of Le Havre.

After studying philosophy, Mathilde Roman graduated Phd in Arts and Sciences of Art, Univ. Paris 1 Sorbonne. She teaches at the Pavillon Bosio, Art &Scénographie, Monaco. Art critic, she’s treasurer of AICA International. She published two essays : On Stage, The theatrical Dimension of Video Image, Intellect, UK, 2016, and Art vidéo et mise en scène de soi, L'Harmattan, 2008, and Corps et images. Oeuvres, dispositifs et écrans contemporains, Mimésis, 2017. She has conducted several curatorial projects, recently Danse, Danse, Danse, Nouveau Musée National de Monaco, 2016, Full Screen, La Station, Nice, 2016, MOVIMENTA, first Biennial of Moving Image in Nice, 2017, and in 2018, “Performance TV” at Maison d'Arts Bernard Antonioz, Nogent sur Marne.

After spending about equal amounts of time in the academic world and the art world, K. Lisa Schiff has shifted from seeking hybrid genres — a dissertation about artists’ books; artworks using text — to pursuing writing and artmaking separately. She has terminal degrees in both fields: a Ph.D. in Comparative Literature and Literary Theory (with a Graduate Certificate in Women’s Studies, University of Pennsylvania), and a M.F.A. in Studio Art (with Honors in Drawing, School of the Museum of Fine Arts / Tufts University). Various projects about Agnes Martin preceded her current research on Picasso. She has published in Art in America, Art Journal, Hyperallergic Weekend, Tate Etc., and other venues, and she has been a member of the International Association of Art Critics (AICA-USA) since 2013. Her recent solo exhibition of small drawings, at the Nano Gallery in Washington, DC, was called Out of Joint.

Karol Sienkiewicz is an art critic and art historian. He has edited several collective art books on Polish contemporary art. In particular, he is the author of Zatańczą ci co drżeli. Polska sztuka krytyczna (Those who Trembled Will Dance. Polish Critical Art, 2014). He won the Jerzy Stajuda Award for Art Criticism (2012). He is published in various cultural magazines, including Dwutygodnik.

Hailing from the ranks of Ecole Centrale and HEC, Julien Sipra currently works at an advertising agency where he invents stories to be told through digital devices and information technology. He was a contributor to the Hearn report on the “development of entrepreneurship in the cultural sector of France”, commissioned by the Ministry of Culture and Communication and the Ministry of the Economy. He then attended Sciences Po and the political art school founded by Bruno Latour where, in response to a commission from the National Council on Information Technology, he worked on the effects of algorithmic calculation, social networks that are establishing themselves around and thanks to an algorithm, and on the forms and modalities of activism in the era of digital platforms. From there grew his interest in digital cultures, in the transformations that give rise to information and communication technologies, and their consequences on individuals and society. He recently became part of a famous bike-delivery company in an effort to pursue both anthropological enquiry and artistic performance

Ewa Sułek is an art historian, curator, writer and researcher. She studied art history at the University of Warsaw and the University of Cambridge. Her main research interests include contemporary Ukrainian art and relationships between art and politics. She is currently working on her PhD thesis about contemporary art spaces in Kyiv, carried out at the Academia Copernicana, interdisciplinary doctoral school at the Nicolaus Copernicus University in Toruń, in collaboration with the University of Cambridge Ukrainian Studies. Author of the book Chłopak z pianinem. O sztuce i wojnie na Ukrainie (The boy with the piano. On art and war in Ukraine, PWN, Warsaw 2018). She has also published short stories, and her most recent work is a theatre play about the absurdities of war in Donbas, Animals Who Ate Their Humans, premiered at the Corpus Playroom of the ADC Theatre in Cambridge in 2020. Together with artist Paweł Zaręba, she founded and runs the Lescer Art Center in Zalesie Górne near Warsaw.

Anysia Troin-Guis completed a Ph D. in Comparative Literature (Aix-Marseille University) and is a professor certified in modern humanities. Her thesis, defended in 2017, is entitled Experimental poetry from 1960 to 1980: Aesthetic, ethical and political issues. The recipient of a post-doctoral research grant financed by the Foundation for the Memory of the Shoah for her work on the relationships between contemporary and historical violence, she is pursuing her activities as an art critic and contributes regularly to specialized journals. She participated in various scientific group publications and is a member of the collective Migrations et altérités, a space for transversal and interdisciplinary exchange that engages in critical thinking about constructs for research-action and alternating between seminars and workshops at University Aix-Marseille. She has organized various scientific events (Aix-Marseille University and Sorbonne Nouvelle University) and coordinated the publication of several editions of the scientific journal Les Chantiers de la creation, for which she was an editorialist for two years. Her research is primarily on the historical, political and ethical concerns of contemporary, poetic and artistic creation.

After he graduated in Politics at La Sorbonne University in 2010, Nicolas Vaquier specialised in Management of Cultural organizations. He worked as a freelance journalist for newspapers and magazines, then founded in 2012 the cultural magazine La Grande Bouche, and became publication director of it. He was involved in the creation of the INAGLOBAL project, the bilingual online magazine of the Institut National de l’audiovisuel (INA), as a subeditor and regular writer for the magazine. He also worked as a translator for the Italian newspaper Il Secolo XIX and as a Project Manager with an Italian Member of the European Parliament. He is now vice director of the gallery Espace A VENDRE in Nice. 

Dejan Vasić is an art critic and independent curator based in Belgrade, Serbia, currently working as a visual arts program curator at the Center for Cultural Decontamination in Belgrade. He is co-editor of Beton (cultural propaganda kit) and an active member of AICA Serbia. In the past, he was a member of Kontekst Collective (2009-2013), the Culture of Memory curatorial platform (2010-2014) and the Four Faces of Omarska Working Group (2010-2015). He is interested in art as a critical and political practice, and the affirmation of critical thinking as a public good. His research and curatorial projects were part of public events and exhibitions (selection): Gathering Around the Wreckage, Oliver Ressler solo exhibition (Cultural Center of Belgrade, 2020); Art as Critics and Politics (CZKD Center 2017-ongoing); Performance, Performativity and Document (SULUV Galery, Museum of Contemporary Art of Vojvodina, 2018); Four Faces of Omarska (Dokufest, Prizren 2014; Forensis, HKW, Berlin 2014; October Salon, Belgrade 2013; Gallery of Contemporary Art, Sarajevo 2013; Urban Festival, Zagreb 2012; Center for research Architecture, Goldsmith University of London, 2012; Museum of Contemporary Art Belgrade, 2010; SpaPort Biennial, Banja Luka, 2010); The Culture of Memory (GPL Contemporary, Vienna 2014; Gallery PM, HDLU Zagreb 2014; Mediterranea 16, Young Artists Biennial, Ancona 2013; Biennial of Visual Arts, Pančevo 2012; Cultural Center, Šabac 2010).

Julien Verhaeghe holds a doctorate in Aesthetics from the University of Paris 8 and a DNSEP diploma from the Beaux-Arts de Paris-Cergy. His research has focused on the relationship between aesthetics and the contemporary, allowing him to question the proximity between aesthetics and other fields such as sociology, history or anthropology. He is particularly interested in practices involving the notions of cartography, the collective and displacement. A work entitled Art & Flux. Un portrait du contemporain was published in 2014, and Photography, Media and Capitalism in 2009, co-directed with François Soulages. For several years now, he has been developing his activity as a critic and curator, notably by creating the review Possible, in 2018, devoted to the practice of art criticism and setting up events to put this into practice. In 2019 he was nominated for the AICA-France Art Critics Prize, presenting the work of the duo Galerie Rezeda. He teaches aesthetics at the Université Catholique de l’Ouest in Angers and at the École Camondo in Paris.

Marek Wasilewski is lecturing at the University of Arts in Poznań. From 2017, he is a director of the municipal gallery Arsenal in Poznan. He is a member of AICA. In the years 2000-2017 he was editor in chief of the bimonthly cultural magazine Time of Culture. He published in magazines such as Art Monthly, Springerin, PAJ: A Journal of Performance and Art, the International Journal of Education and Art, and Art, Design & Communicationin Higher Education .

Wang Yang is a Chinese photographer, born in Shanghai on April 21, 1986. In 2009, he graduated from Shanghai Normal University with a bachelor's degree, specialising in oil painting. Then, he went in France where he learned French for two years, before getting his Bachelor of art on 2015 in the Hight School of Art and Design of Valenciennes. Then he began learning photo, and obtained a Master degree specialised on art in 2017 to the National Institute of Art of Dijon. Since, selected by the National Institute of Art of Nancy, WANG Yang is following the program of post-diploma Offshore in Shanghai and tooks this opportunity to continue his photography project on his hometown.

Shingo Yoshida received his MA with highest honors from Ecole Nationale Supérieure d’Art, Villa Arson in Nice France in 2004, then earned a post-graduate diploma in 2005 at the Ecole Nationale Supérieure des Beaux-Arts de Lyon, France, and subsequently in 2007, received another post-graduate diploma in the Program La Seine of Ecole Nationale Supérieure des Beaux-Arts de Paris. Yoshida’s work has been shown in many international exhibitions, in-cluding Palais de Tokyo, Paris ; the Museo de Arte Contemporáneo MAC, Santiago, Chile; Arte tv Creative ; Based in Berlin by Klaus Biesenbach, Christine Macel and Hans Ulrich Obrist. In 2017, he was invited to showing his film and photograph made in Russia Siberia for UN Conference on Climate Change, COP23. His works have come to be housed as Art Collection of the Ministry of Environment Germany, and in 2016, were in the possession of Berlin Mu-seums, Berlinische Galerie : Akademie der Künste : Fluentum.

Elvan Zabunyan is a contemporary art historian, art critic and professor at Rennes University, where she was the director of the Master’s Curatorial Program from 2002 to 2019. She works across issues of race, postcolonialism and feminism, as well as on the political and cultural history of the United States in relationship to artistic activism since the 1960s. She published a pioneering work on African-American visual arts, Black is a Color: A History of Contemporary African American Art (Dis Voir, 2005) and the first monograph dedicated to the Korean-American artist Theresa Hak Kyung Cha, Theresa Hak Kyung Cha, Berkeley, 1968 (Presses du réel, 2013, to be released in English end 2020). She co-edited publications, wrote numerous articles for collections and anthologies, exhibit catalogues and periodicals, including Adrian Piper (MoMA, 2018), Ellen Gallagher (WIELS, 2019), LaToya Ruby Frazier (MUDAM, 2019), Kehinde Wiley (Templon, 2019), “The Muted Sound of Speaking Silence” (Kunsttexte.de, 2020), and “Lorna Simpson: Hearing Images” (InSITE, 2020). She recently co-edited the special issue “Pratiquer l’histoire par les arts contemporains/Experimenting History with Contemporary Arts” for the journal Esclavages et Post-esclavages/Slaveries and Post-Slaveries (CIRESC/CNRS) (May 2020). She is a regular contributor to the magazine Critique d’art and the online daily AOC media.

Julien Zerbone is a lecturer, historian, art critic and regular contributor to journals such as 303, Critique d’art, 02 and La Belle Revue. He is particularly interested in crossover between the arts and social movements, including their forms and institutions. He is currently conducting research into René Vautier and his support of workers' movements.

Çiğdem Zeytin (born 1981 in Krefeld, Germany) is an Istanbul-based art critic. She completed her undergraduate education at Anadolu University in the Faculty of Communication Sciences, Department of Advertising, Public Relations and her master’s degree at Anadolu University’s Institute of Social Sciences, Department of Art Science, Fine Arts Theory and Criticism. She is working as an independent art critic, writing critiques and conducting interviews with contemporary artists from Turkey and around the world. She is a member of the Body Processing Arts Association and of amberPlatform. She became a member of the International Association of Art Critics (AICA) in 2018. She supports the activities of the association as an elected member of its board of directors.

A former student at the ‘Ecole Normale Supérieure de Lyon’, Estelle Zhong Mengual possesses a doctorate in the History of Art. She completed her thesis on the current artistic and political stakes of participative art at Sciences-Po Paris, under the direction of Laurence Bertrand Dorléac. She is currently working on ways in which contemporary art can enrich our relationships and sensitivity to the world around us, in the context of the ecological crisis. She co-directed the work ‘Reclaiming Art. Reshaping Democracy’ (Presses du Réel, May 2017), and is the author of “L’art en commun. Réinventer les formes du collectif en contexte démocratique,” [“Art in Common. Reinventing Collective Forms in a Democratic Context”] (to be published by Presses du Réel in April, 2018).