Contributors
2021; University of Chicago Press; Volume: 51; Linguagem: Inglês
10.1086/717409
ISSN2156-4914
ResumoPrevious articleNext article FreeContributorsFull TextPDF Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreSETH AYYAZ is a composer-performer, sound artist and theorist based in London. He makes exploratory music, be it with listening machines, humans or otherwise. He researches (dis)embodied perception and its material construction by biological, psychological and social processes. His works offer counter-narratives to current metaphors of cultural exchange and hybridity, instead foregrounding areas of friction, displacement and translation. He has recorded and studied Islamic traditions across the MENASA regions and is active across experimental, noise, improvisation and contemporary music scenes. His interdisciplinary work and thinking spans sound art, spatial composition, live electronics, improvisation, auditory neurosciences, psychoanalysis, computational technologies and materialist philosophy. He has published and spoken widely on these topics. Ayyaz holds a PhD in electroacoustic composition from City, University London and has completed post-graduate studies in medicine, psychology and psychoanalysis. He has presented work internationally, including at Institute of Contemporary Arts, London; MaerzMusik, Berlin; Oper Frankfurt; Sharjah Biennale; Irtijal, Beirut; Sibelius Academy, Helsinki; Alte Schmiede Kunstverein, Vienna; and SPOR, Copenhagen.JAIMIE BARON is an Associate Professor of Film Studies at the University of Alberta, Edmonton. She is the author of Reuse, Misuse, Abuse: The Ethics of Audiovisual Appropriation in the Digital Era (2020) and The Archive Effect: Found Footage and the Audiovisual Experience of History (2014) as well as many journal articles and book chapters. She is the founder, director and co-curator of the Festival of (In) appropriation, a yearly international festival of short experimental found footage films and videos. She is also a co-founder and co-editor of Docalogue, an online space for scholars and film-makers to engage in conversations about contemporary documentary, and the Docalogue book series published by Routledge.REMCO DE BLAAIJ is currently Director of Artspace Aotearoa in Tāmaki Makaurau, Auckland, Aotearoa New Zealand. Previously he was Senior Curator at the Centre of Contemporary Arts, Glasgow, where he had worked since 2012 and curated ‘The Shock of Victory’ – a reaction to the Independence Referendum in Scotland in 2014. He co-curated the 2011 exhibition ‘Picasso in Palestine’ while working at the Van Abbemuseum, Eindhoven, which he joined in 2007. At the museum he was also part of the team for the two-year project ‘Be(com)ing Dutch’, which dealt with the residue of globalisation, national identity and immigration. In 2011, he concluded his research at the Centre for Research Architecture, Goldsmiths College, University of London, with the publication too little, too late that focussed on border practices of visual culture against the background of Suriname. In 2013 he received the CPPC/ICI Travel Grant for Central America and the Caribbean.KATHLEEN DITZIG is a Singaporean researcher and curator. Her research unpacks the enduring legacies and networks of the Cold War in relation to Southeast Asian contemporary art practices and global capitalism. She is currently pursuing her PhD at NTU ADM, Singapore. She has an MA from CCS Bard, Annandale-on-Hudson, NY and a BA in Art History and Asian Humanities from UCLA. Ditzig’s art historical research on Southeast Asia and Singapore has been published in Southeast of Now (2017), as well as presented at international academic conferences and platforms. Her writing has been published in Artforum, OSMOS Magazine, art-agenda and Art Review Asia and in books including Perhaps It Is High Time for a Xeno-Architecture to Match (2018). Her recent exhibitions include ‘As The West Slept’ (2019) and the project co-curated with Carlos Quijon Jr, ‘In Our Best Interests: Afro-Southeast Asian Affinities During A Cold War’ (2021).ROSALIA NAMSAI ENGCHUAN is an artist and researcher based between Berlin and Southeast Asia. Her PhD research at the Max Planck Institute for Social Anthropology in Halle, Germany, is a theoretical investigation into practices of community film-making in Indonesia, arguing for a re-conceptualisation of care as a relational process rooted in interdependency. She is the 2021 Goethe-Institut fellow at Hamburger Bahnhof – Museum für Gegenwart and a co-founder of ‘with the rubbles of old palaces’, a communal study space in Berlin. Engchuan curates dialogical encounters with a focus on experimental practices from the ‘epistemological’ South, in collaboration with the Berlin-based collective un.thai.tled and the Southeast Asia-based initiative The Forest Curriculum. Her own video works are collective speculative vessels that aim to undo the underlying structures of colonialism, race, gender and class. She is currently focussing on entanglements of medicinal knowledges, spiritual technologies and capitalism.NAV HAQ is Associate Director at the M HKA – Museum of Contemporary Art Antwerp where he is responsible for the development of the artistic programme. He is an editor of Afterall journal.ISOBEL HARBISON is an art critic, art historian and Lecturer in Critical Studies in the Department of Art at Goldsmiths College, University of London. Interested in the juncture of art, media and politics, her first monograph, Performing Image, was published by the MIT Press in 2019. In it she examined the interrelation of performance and moving image and considered its history alongside the expansion of the attention economy, the rise of social media and the labour of the online prosumer. Harbison is now researching her second monograph, provisionally titled A Citizenry of Moving Image: Artists’ Film and Video in Northern Ireland from 1968. This study examines successive waves of Irish, Northern Irish and international film-makers and collectives over the past 50 years in relation to key political events and media histories. Early stages of the research have been supported by the Paul Mellon Centre.YUK HUI wrote his PhD thesis under the French philosopher Bernard Stiegler (1952– 2020) at Goldsmiths College, University of London, and his Habilitation at Leuphana University Lüneburg. He is the author of several monographs including Art and Cosmotechnics (2021), Recursivity and Contingency (2019), The Question Concerning Technology in China: An Essay in Cosmotechnics (2016/2019) and On the Existence of Digital Objects (2016). His books have been translated into French, German, Polish, Spanish, Portuguese, Italian, Chinese, Japanese and Korean. He teaches at City University of Hong Kong.EDWIN NASR is a writer and curator based between Amsterdam and Beirut. He completed De Appel Curatorial Programme from 2020–21 and is the Assistant to the Director at Ashkal Alwan, a non-profit arts organisation in Beirut, where he is involved in the development of programmes, exhibitions and publications. Nasr has worked on several editorial projects, including Beirut Art Center’s The Derivative and the Sharjah Architecture Triennial’s Rights of Future Generations, and sits on the editorial board of Journal Safar. His writings recently appeared in n+1, The Funambulist, Bidoun and Jadaliyya, and were commissioned for exhibition catalogues by the Sharjah Art Foundation and the Biennale de l’Image en Mouvement in Geneva. He will take part in the Singapore Art Museum’s Curatorial & Research Residency with Hera Chan in 2022. He curated the Toward an Institute of Black Studies symposium at Quai Branly Museum in Paris with curator Sarah Rifky.MIKE SPERLINGER is a writer and curator, and currently Professor of Theory and Writing at the Oslo National Academy of the Arts. Recent projects include Sad Disco Fantasia, a festival of film-as-event with Kunsthall Oslo, and PRISMS, a new platform for artists’ moving image in the Nordic regions. He is also the editor of several books, including ‘Here Is Information. Mobilise’: Selected Writings by Ian White (2016). A collection of his essays about writing by artists, edited by Nida Ghouse, will be published in 2022.DAVID TEH is a writer, curator and Associate Professor at the National University of Singapore. His research spans art history, criticism and theory, with an emphasis on Southeast Asian modern and contemporary art. His curatorial projects have included: Returns, a project for the 12th Gwangju Biennale, 2018; ‘“Misfits”: Pages from a Loose-leaf Modernity’, Haus der Kulturen der Welt, Berlin, 2017; ‘TRANSMISSION’, Jim Thompson Art Center, Bangkok, 2014; ‘Video Vortex #7’, Yogyakarta, 2011; and ‘Unreal Asia’, 55. Internationale Kurzfilmtage Oberhausen, 2009. He is currently co-curating the 17th Istanbul Biennial (with Ute Meta Bauer and Amar Kanwar). David’s writings have appeared in Third Text, Afterall, ARTMargins, Theory Culture & Society and Artforum. His book Thai Art: Currencies of the Contemporary was published in 2017 by the MIT Press, and he was co-editor (with David Morris) of Artist-to-Artist: Independent Art Festivals in Chiang Mai 1992–98 (2018), for Afterall’s Exhibition Histories series.ANNE ZEITZ is Associate Professor at Rennes 2 University and member of the research group Practice and Theories in Contemporary Art. Her research focusses on aural attention, the inaudible and the unheard, as well as on methodologies that make it possible to study sonic practices based on archival documents and aural accounts. She initiated the research project Sound Unheard in collaboration with international cultural institutions, directed the eponymous publication on www.kunsttexte.de and co-organised the associated exhibition at the Goethe-Institut Paris, the performance programme ‘Inaudible Matters’ at Gaîté Lyrique, Paris and the exhibition ‘Échos magnétiques’ at the Musée des beaux-arts, Rennes, 2019. She is the curator of the exhibition ‘Polyphone’, Kunstsammlung Gera, 2021 and Musée d’art et d’histoire Paul Eluard, Saint-Denis, 2022. Previous articleNext article DetailsFiguresReferencesCited by Afterall Volume 51Spring/Summer 2021 Published by Central Saint Martins, University of the Arts London Article DOIhttps://doi.org/10.1086/717409 © 2021 Central Saint Martins College of Art and Design, University of the Arts London. All rights reserved. Crossref reports no articles citing this article.
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