Notes on the Contributors

Pio Abad is a Filipino artist living and working in London. He began his art studies at the University of the Philippines before receiving a BA from Glasgow School of Art and an MA from the Royal Academy Schools, London. Recent exhibitions include ‘For the Phoenix to Find its Form in Us’ (ifa Gallery and Savvy Contemporary, Berlin, 2021); ‘Phantom Limb’ (Jameel Arts Centre, Dubai, 2019); ‘Kiss the Hand You Cannot Bite’ (Kadist, San Francisco, 2019); ‘Splendour’ (Oakville Galleries, Ontario, 2019); ‘To Make/Wrong/Right Now’ (The 2nd Honolulu Biennial, Hawaiʻi, 2019). Abad is also a lecturer in fine art at Goldsmiths, University of London.

Roberta Agnese holds a PhD in philosophy and aesthetics. Previously a lecturer in philosophy and cultural mediation at the Université Paris Est-Créteil, she is now in charge of cultural research at the French Ministry of Culture. Her academic work focuses on contemporary visual art and photography, with a particular attention to documentary practices. She published, among others: ‘Le Document comme cible et comme instrument. The Atlas Group Archive de Walid Raad’, in Un art documentaire. Enjeux esthétiques, politiques et éthiques, ed. by Aline Caillet and Frédéric Pouillaude (2017).

Michela Alessandrini, PhD, is a curator at Fondation Cartier pour l’art contemporain, Paris. She is editor of the series on ‘curatorial archives’ published by Archive Books and of the interview collection Curatorial Archives in Curatorial Practices (2018). She is a board member of the École du Magasin Alumni Association and an advisor for private and public curatorial archives and collections. She has been consultant for research at Mathaf: Arab Museum of Modern Art, Doha, Qatar; guest researcher at MACBA, Barcelona, l’Appartement 22, Rabat, and Van Abbemuseum, Eindhoven as well as a curator-in-residence in Switzerland, France, Belgium, and Hungary.

Malin Arnell is a visual and performance artist. She is currently a senior lecturer at Konstfack University of Arts, Crafts and Design (KUNO Stockholm). Over the last twenty years, Malin has been engaged in collaborative practices through ‘an embodied and affective now’. Through her commitment to a queer feminist, posthumanist, and agential-realist approach she has developed an in-depth practice of knowing-through-doing, based on a strong ecological sensibility. She has developed the 72-hours live PhD thesis in Choreography, Avhandling / Av_handling (Dissertation / Through_action) (2016), at Stockholm University of the Arts (SKH) and at Lunds University.

Cristina Baldacci is a contemporary art historian and associate professor at Ca’ Foscari University of Venice. She was previously a fellow (2016–2018) and an affiliate fellow (2018–2020) at the ICI Berlin. Her research interests focus on the archive as a metaphor and art form; appropriation, montage, and ‘re-’ practices in contemporary art; image theory; sculpture and installation art; art in the Anthropocene. Among her publications are the monograph Archivi impossibili. Un’ossessione dell’arte contemporanea (2016/2019) and the recently co-edited volumes Double Trouble in Exhibiting the Contemporary: Art Fairs and Shows (with Clarissa Ricci, Angela Vettese, 2020), On Reenactment: Concepts, Methodologies, Tools (with Susanne Franco, forthcoming).

Amy Brost is an art conservator at the Museum of Modern Art (MoMA) specializing in time-based media. She works with the Media and Performance collection as well as with the museum’s digital repository for art storage. In 2016, she earned an MA in the history of art and archaeology and an MS in conservation of historic and artistic works from the Conservation Center of the Institute of Fine Arts, New York University. She holds bachelor’s degrees in studio art and art history from the University of Wisconsin-Madison and a chemistry degree from New York City College of Technology.

Serena Cangiano teaches at the University of Applied Sciences and Arts of Southern Switzerland SUPSI and is a tenured researcher at the University’s Laboratory of Visual Culture. Since 2019, she has been the head of SUPSI’s Fablab DACD, where she leads applied research projects on digital fabrication, interaction design, and open innovation. Among her publications: Rebelling with Care: Exploring Open Technologies for Commoning Healthcare, co-ed. with Zoe Romano, Valeria Graziano, and Maddalena Fragnito (2019).

Giulia Damiani is an art historian, writer, curator, and performance collaborator. She has been the fellow of the 2019–2021 Edition of the Dutch curatorial platform If I Can’t Dance, I Don’t Want to Be Part of Your Revolution and is currently editing an upcoming book for the organisation. In 2020, she curated the exhibition ‘From the Volcano to the Sea: The Feminist Group Le Nemesiache in 1970s and 1980s Naples’ for If I Can’t Dance at the venue Rongwrong in Amsterdam (October 2020 to May 2021). She’s been teaching in the MA programme for curating at Goldsmiths, University of London as well as guest lecturing and tutoring at the Sandberg Instituut, the Dutch Art Institute, the platform SNDO of the Academy of Theatre and Dance at Amsterdam University of the Arts (AHK), and the Gerrit Rietveld Academie.

Davide Fornari is associate professor at ECAL/University of Art and Design Lausanne, where he has led the Applied Research and Development sector since 2016. He has co-edited Mapping Graphic Design History in Switzerland (with Robert Lzicar, 2016) and Bianca e Blu Monica Bolzoni (with Régis Tosetti, 2019), and co-authored Carlo Scarpa. Casa Zentner a Zurigo (with Giacinta Jean and Roberta Martinis, 2020).

Katja Gentric is an artist, art historian, and associate researcher at Laboratoire Interdisciplinaire de Recherche Sociétés, Sensibilités, Soin (LIR3S, Dijon) and at the Institut du Monde Africain (IMAF Paris). She teaches at ESADHaR (École Supérieure d’Art et Design Le Havre-Rouen). Following a post-doctoral project with the title ‘Artistic Practices and Use of Language’ at the University of the Free State, South Africa, she is currently a fellow at the Günther Uecker Institut in Schwerin with the project ‘Günther Uecker — Blickwinkel “South”’. Her research focuses on uses of voice, of language, and of humour in contemporary art practices situated within socio-political frameworks particular to the turn of the twenty-first century, where South Africa holds a key position.

Pablo Gonçalo is assistant professor at the University of Brasília. In 2019, he was a Fulbright Fellow at the University of Chicago and a post-doctoral researcher in partnership with the University of São Paulo. His research centers on the history of unfilmed scripts, focusing on German and Brazilian film history. More recently he has been researching the classic Hollywood era, consulting archives and many original unfilmed scripts of the 1940s, written by Ben Hecht, Francis Marion, Dudley Nichols, and Billy Wilder. He has been published in Journal of Screenwriting, La Furia Umana, several edited collections, as well as in Brazilian newspapers and magazines, such as Folha de São Paulo and Revista 451. Gonçalo also works as film critic and curator.

Juliana Hodkinson is a composer and artistic researcher. Her current work focuses on creating hybrid spatialized electro-acoustic formats for shared performance and experience, often in collaboration with other artists and listeners. She works with objects, instruments, voices, field recordings, archive material, and electronics. She is associate professor of composition at the Grieg Academy in Norway and the Royal Academy of Music in Aarhus, Denmark.

Joanna Kiliszek is a Berlin-based art historian, curator, and cultural manager. She studied at both the University of Warsaw and the University of Cologne. In 2019, she obtained a PhD in the framework of the M. Skłodowska-Curie Innovative Training Network NACCA (New Approaches in the Conservation of Contemporary Art) at the Academy of Fine Arts in Warsaw. From 2008 to 2014, she was the deputy director of the Adam Mickiewicz Institute in Warsaw, from 2001 to 2007, director of the Polish Cultural Institute in Berlin, and, from 1996 to 2001, director of the Polish Cultural Institute in Leipzig. She is a member of the AICA (International Association of Art Critics).

Kata Krasznahorkai, PhD, is a Berlin-based art historian, curator, and writer, currently working as a Gerda Henkel Senior Research Fellow at the University of Zurich. Her research analyses Black Power in Eastern Europe arts and culture. In 2020 she co-curated (with Inke Arns and Sylvia Sasse) ‘Artists & Agents: Performance Art and Secret Services’ at HMKV Dortmund, which received the German AICA (International Association of Art Critics) award for ‘Exhibition of the Year 2020’. With Sylvia Sasse, she is co-editing a comprehensive handbook on art and secret service operations under the same title. Her monograph Operative Art History or Who is Afraid of Artists? is forthcoming.

Sven Lütticken, an art historian and critic, teaches art history at the Vrije Universiteit Amsterdam. He publishes regularly in journals and magazines and contributes to exhibition catalogues. His most recent books are History in Motion: Time in the Age of the Moving Image (2013), Cultural Revolution: Aesthetic Practice after Autonomy (2017), and Objections: Forms of Abstraction (forthcoming), as well as the critical reader Art and Autonomy (forthcoming).

Hélia Marçal is a lecturer in history of art, materials, and technology at University College London and an integrated researcher at the Institute of Contemporary History, NOVA University Lisbon. She was a fellow in contemporary art conservation and research in the Andrew W. Mellon-funded research project ‘Reshaping the Collectible: When Artworks Live in the Museum’ at Tate (2018–2020). Since 2016, she has been the coordinator of the Working Group ‘Theory, History, and Ethics of Conservation’ of the International Council of Museums Committee for Conservation.

Vera Sofia Mota is a Portuguese artist based in Berlin since 2011 and in Brussels since 2020. She currently attends the postgraduate program a.pass – advanced performance and scenography studies in Brussels, with a scholarship from the Calouste Gulbenkian Foundation in Lisbon. She studied choreography, performance, philosophy, and yoga in Portugal, the Netherlands, Germany, Belgium, and India, and has been working across these disciplines for the last twenty years. Since 2015, upon the invitation of LIMA Amsterdam, she has been researching the work of visual, performance, and video pioneer artist Nan Hoover.

Clio Nicastro is a fellow of the VolkswagenStiftung at the ICI Berlin and adjunct faculty member at Bard College Berlin. In 2015 she received a DAAD postdoctoral fellowship to work on the German filmmaker Harun Farocki and from 2016 to 2018 she was a fellow at the ICI Berlin. Her current research focuses on the cinematic representations of eating disorders. Her work on Harun Farocki, Philip Scheffner and Merle Kröger, and Adelina Pintilie has appeared in academic publications as well as in film and art journals. From 2018 onwards, she has been coorganizing ‘Spellbound’ (with Hannah Proctor and Nadine Hartmann), a series of screenings and reading groups.

Fransien van der Putt is a dramaturge, critic, writer, and radio artist based in Amsterdam. She writes about dance, theatre, and inter- or post-disciplinary performance practices. She has been conducting research into the Nan Hoover archive at LIMA, Amsterdam (with Vera Sofia Mota), and studying cross-disciplinary practices for children and their adult entourage (with Anne-Beth Schuurmans). She is currently writing on artistic and social constellations (with Heike Langsdorf) and working on a radio choreography series (with Netta Weiser) for dance archives in Berlin, Tel Aviv, Cologne, and Vienna. She is the editor-in-chief for De Nieuwe Dansbibliotheek.

Alethea Rockwell is an educator and researcher. She is currently associate educator for studio and artist programmes at the Museum of Modern Art (MoMA). There, she collaborates with artists on experimental projects that expand the museum’s public function. She has organized performances, interactive installations, and audio guides with artists Chemi Rosado-Seijo, Amanda Williams, Salome Asega, Michael Rakowitz, and Nina Katchadourian. Rockwell has previously worked on exhibitions and public programmes at the Tate Modern, the Pennsylvania Academy of the Fine Arts, and the Courtauld Gallery. She received an MA in curating with distinction from the Courtauld Institute of Art.

Daniela Sacco is Marie Curie research fellow at the University of Milan and the UQAM, Université du Québec à Montréal. She researches in aesthetics and aesthetics of theatre. She collaborates with the Centro studi classicA of Università Iuav di Venezia. She is the author of a number of books, articles, reviews, and plays, among them: Pensiero in azione. Bertolt Brecht, Robert Wilson, Peter Sellars: tre protagonisti del teatro contemporaneo (2012); Mito e teatro il principio drammaturgico del montaggio (2013); Goethe in Italia. Formazione estetica e teoria morfologica (2016), Tragico contemporaneo. Forme della tragedia e del mito nel teatro italiano (1995-2015) (2018).

Daniela Salazar is a researcher, curator, and cultural programmer. She is a researcher at IHA (Art History Institute), NOVA University of Lisbon, and works on both the museological programming of the Cycling Museum (Torres Vedras) and on the management of creative and cultural industries at ArteriaLab (University of Évora). Her PhD research concerned the relation between performance, performativity concepts and practices, museum and curatorial contexts. She was responsible for the Sumol Museum programming between 2013 and 2015.

Pierre Saurisse is a lecturer in contemporary art at Sotheby’s Institute in London. His book La Mécanique de l’imprévisible (2007) explores the question of chance in art in the 1960s. His recent essay on the image of the artist in films is included in the book The Mediatization of the Artist, ed. by Rachel Esner and Sandra Kisters (2018). His forthcoming book Performance in the Museum will be published in 2022.

Azalea Seratoni is an art historian. Her curatorial activity complements her critical and research practice. Since 2016, she has been teaching basic design at the Scuola Politecnica di Design, Milan. She is mainly interested in exploring the relationship between art and new media as well as the boundaries of art and design. She is interested in the relationship between the contemporary arts and image theory and visual culture. She is the co-editor of Arte riprogrammata. Un manifesto aperto. Reprogrammed Art: An Open Manifesto (with Serena Cangiano and Davide Fornari, 2015).

Özge Serin received her PhD in anthropology from Columbia University, and is currently a visiting assistant professor of politics and anthropology at Whitman College. Her scholarship centres around histories of radical politics, formations of violence, carceral cultures, and corporeal forms of resistance with a particular focus on hunger striking. Her current book manuscript, ‘Writing of Death: Ethics and Politics of the Hunger Strike’, explores the divide between incompatibly distinct and yet inextricably linked space-times of dying and politics. As a companion to the book, she co-created (with Brian Karl) the video documentary Death/Fast (2016), which premiered at Kadist Art Foundation in San Francisco.

Arianna Sforzini is a postdoctoral researcher at the University of Fribourg (2020–2022). She is a member of the Association pour le Centre Michel Foucault, and has been an associated researcher at the Bibliothèque nationale de France (2016–2019), a post-doctoral fellow for the project ‘Foucault Fiches de Lecture/Foucault’s Reading Notes’ (funded by the Agence National de la Recherche (ANR), hosted by both the Centre National de la Recherche Scientifique (CNRS) and the École Normale Supérieure de Lyon, 2018-2020), and a fellow at the ICI Berlin (2016–2017). She is the author of Les Scènes de la vérité. Michel Foucault et le théâtre (2017) and Michel Foucault. Une pensée du corps (2014).

Ulrike Wagner is a wissenschaftliche Mitarbeiterin at Bard College Berlin and director of its German Studies Program. She received her PhD in German and Comparative Literature from Columbia University and an MA in North American Studies and German Literature from the Freie Universität Berlin. Her current research concerns the relation between religious criticism, education, and culture in the eighteenth- and nineteenth-century history of philology in German Romanticism and American Transcendentalism. Her latest research deals with nineteenth-century Jewish women writers and salonnières in Germany. She is currently completing a book manuscript titled ‘Transatlantic Philology: Emerson, Germaine de Staël, Herder, and the Critical Practices of Reordering Religion and Antiquity’.

Gaby Wijers is director of LIMA, Amsterdam, guest lecturer at Amsterdam University, and honourable Research Fellow of the University of Exeter. Previously, she was coordinator of collection and preservation at the Montevideo/NIMk (Netherlands Media Art Institute). She initiated and participated in different international projects dealing with the documentation and preservation of media art and performances.