Contributors

Previous article FreeContributorsPDFPDF PLUSFull Text Add to favoritesDownload CitationTrack CitationsPermissionsReprints Share onFacebookTwitterLinked InRedditEmailQR Code SectionsMoreELISA ADAMI is a Research Fellow and Editor at Afterall, Central Saint Martins, University of the Arts London, where she manages the One Work and Two Works book series. She is also part of the editorial team of Afterall journal. Previously, Elisa was the Coordinator of Research Residency programmes at UAL’s Decolonising Art Institute. She holds a PhD from the Royal College of Art and has taught at the RCA, CSM and Kingston University. Together with Anthony Downey, Adami is essociate editor of the book series Research/Practice, and managing editor of the forthcoming Nida Sinnokrot: Palestine is Not a Garden, both published by Sternberg Press.CHIARA CARTUCCIA is a London-based independent curator, researcher and writer. She is currently engaged in long-term research on the Mediterranean as invented/inventive geography, focussing in particular on the ramifications of practical Mediterraneanism(s) in the working of art institutions operating in Euro-Mediterranean contexts. Since 2016, she is co-founder and director of the curatorial and editorial platform EX NUNC. She has held curatorial positions at SAVVY Contemporary, Berlin and Manifesta Biennial, Palermo/Amsterdam, for which she co-curated the Manifesta 12 Planetary Garden Public Programme (2018). Chiara studied Art History at University of Rome, La Sapienza and was a research fellow at Freie Universität Berlin and Akademie der Künste Berlin. She holds an MA in Contemporary Art Theory from Goldsmiths, University of London and is a PhD candidate at the Amsterdam School for Cultural Analysis at the University of Amsterdam.HERA CHAN is a cultural worker living in Amsterdam, by way of Kowloon, Hong Kong. With Alvin Li, she is adjunct curator of Greater China, supported by the Robert H. N. Ho Family Foundation, at Tate, London. Formerly, she was a participant in De Appel’s Curatorial Programme and co-producer of KomBIJ1 TV leading up to the Dutch Parliament elections in 2021. In Hong Kong, she was associate curator of public programmes at Tai Kwun Contemporary, director/ curator of Videotage, and researcher at the SEACHINA Institute, where she focussed on socially engaged art practices in contemporary China. In 2017, she co-founded Miss Ruthless International, a contemporary art network that mimics the infrastructure of diasporic beauty pageants. Currently, Chan is a grantee of the Andy Warhol Foundation Arts Writers Grant, working on a series of essays about artistic practices critical to our understanding of the global uprisings of 2019, with a focus on the Milk Tea Alliance. MAMOUSSÉ DIAGNE is a Professor of Philosophy at Cheikh Anta Diop University in Dakar. His philosophical work attempts to identify not only the contents of African thought, but also the modes of reasoning and of knowledge acquisition, the ways of transmitting and preserving it, taking into account the limitations of the (almost) absence of the material medium of writing. Diagne is the author of several major works of African philosophy, including Critique de la raison orale (2005) and De la philosophie et des philosophes en Afrique noire.ANAWANA HALOBA lives and works in Oslo and Livingstone. Haloba produces preparatory exercises and drafts poetry in the form of sketches thatare abstracted in performative, moving-image, installation and sound-based works. These create situations where the material culture of any given place can be probed and reconsidered within the scheme of rapidly shifting contemporary subjectivities. Recently, her research has investigated epistemologically oppressed knowledges and technologies through methods of listening and other oral understanding to activate (re)pair and opacity. Haloba’s work has been shown at the 15th Triennale Fellbach (2022); Bucharest Biennale (2021); Lyon Biennale (2017); 11th Shanghai Biennale (2016); Bienal de São Paulo (2016); Sharjah Biennial (2019, 2013, 2007); and Manifesta 7 (2008). In 2014 she co-founded the Livingstone Office for Contemporary Arts (LoCA), an artist-initiated, non-profit library, research centre and collective/collaborative platform and an experimental think-tank, exploring colonial, social and political histories and their legacies, and how they relate to language and contemporary art.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.LUIS JACOB is a Peruvian-born, Toronto-based artist whose work destabilises viewing conventions and invites collisions of meaning. He studied semiotics and philosophy at the University of Toronto. Since participating in documenta 12 in 2007, he has achieved an international reputation – with solo exhibitions at Patel Brown Gallery, Toronto (2022); Gallery TPW, Toronto (2017); Kunsthalle Lingen and Galerie Max Mayer, Düsseldorf (both 2012); McCord Museum, Montréal, and Museum of Canadian Contemporary Art, Toronto (both 2011); Art in General, New York City and Fonderie Darling, Montreal (both 2010); Städtisches Museum Abteiberg, Mönchengladbach (2009); Kunstverein in Hamburg (2008) and Morris and Helen Belkin Art Gallery, Vancouver (2007). Group exhibitions include the Art Gallery of Ontario, Toronto (2022); Museum der Moderne Salzburg and Württembergischer Kunstverein Stuttgart (both 2019); La Biennale de Montréal (2016); Tanya Bonakdar Gallery, New York (2015); Taipei Biennial (2012); Generali Foundation, Vienna (2011); Solomon R. Guggenheim Museum, New York (2010) and Hamburg Kunstverein and the Power Plant Contemporary Art Gallery (both 2008). In 2016, he curated the exhibition ‘Form Follows Fiction: Art and Artists in Toronto’ at the Art Museum at the University of Toronto, with a catalogue co-published with Black Dog Press in 2020.JIHOON KIM is Associate Professor of Cinema and Media Studies at Chung-ang University, Seoul. He is the author of Documentary’s Expanded Fields: New Media and the Twenty-First-Century Documentary (2022) and Between Film, Video, and the Digital: Hybrid Moving Images in the Post-media Age (2018/16). He is finalising his third book, Activism and Post-activism: Korean Documentary Cinema 1981–2021, as well as working on a new book project, The Cinema of Operations: Film and Moving images in the Post-cinematic Condition.ALVIN JIAHUAN LI is a curator and writer based in Shanghai. With Hera Chan, he currently serves as adjunct Curator, Greater China, supported by the Robert H. N. Ho Family Foundation, at Tate, London. Li is a contributing editor of frieze magazine. Between 2020–22 he served as artistic advisor to the 59th International Art Exhibition – La Biennale di Venezia, ‘The Milk of Dreams’. His writing on contemporary art and culture has appeared in international publications such as frieze, Artforum, e-flux Architecture, Mousse, art-agenda and ArtReview Asia as well as in catalogues and anthologies published by Dancing Foxes Press and Sternberg Press, among others. His fiction writing has been featured in Spike Art Quarterly, with readings held at Cell Project Space, London (2022); the Museum of Contemporary Art San Diego (2020) and at the CURRENT:LA Public Art Triennial (2019). His year-long research on Uyghur rap as seen through the lens of China’s changing language and ethnic policies was published in The Contest of the Fruits (2021).ADEENA MEY is editor of Afterall journal and a Research Fellow at Central St Martins, University of the Arts London, where he leads the Paul Mellon Centre-funded digital research project Black Atlantic Museum. Through writing, editorial and curatorial projects, his research engages with the histories, theories and practices of the moving image, exhibition studies, cybernetics and decoloniality as well as East and Southeast Asian art histories.BRUNO PINHEIRO is an art historian and educator. He is a PhD candidate at Unicamp (State University of Campinas), Brazil, where he studies the trajectories of Black Brazilian modernist painters and sculptors. His dissertation work is funded by the São Paulo Research Foundation (FAPESP). In 2020, he was a visiting scholar at the Institute of Fine Arts, New York University. His research projects explore themes related to modernism, racial relations and visual culture.CHARLES STANKIEVECH is an artist, writer and curator. His award-winning body of work explores the notion of ‘fieldwork’ in the embedded landscape, the military-industrial complex and geopolitics. He is Associate Professor in the Faculty of Architecture, Landscape and Design at the University of Toronto. He is an editor of Afterall journal and in 2011 co-founded the art and theory press, K. in Berlin. In 2007 he was a founding faculty member of the Yukon School of Visual Arts in Dawson City, Canada (under joint governance by the Indigenous sovereign nation of Tr’ondëk Hwëch’in).SHEP STEINER is Associate Professor of Contemporary Art and Theory at the School of Art, University of Manitoba. He is the author of Rodney Graham: Phonokinetoscope (2013), as well as co-editor of Hybrid Practices: Art in Collaboration with Science and Technology in the Long 1960s (2019), The New Criticism: Formalist Literary Theory in America and Abroad (2013) and Cork Caucus: on art, possibility & democracy (2007). He is the editor of Mosaic: an interdisciplinary critical journal where an early version of the present essay appeared. Modernism Beside Itself, a book on duration, subjecthood and intentionality in American abstract painting and sculpture in the 1950s–60s is forthcoming. Previous article DetailsFiguresReferencesCited by Afterall Volume 53Spring/Summer 2022 Published by Central Saint Martins, University of the Arts London Article DOIhttps://doi.org/10.1086/722153 © 2022 Central Saint Martins College of Art and Design, University of the Arts London. All rights reserved.PDF download Crossref reports no articles citing this article.

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