Mieke Bal is a cultural theorist, critic, video artist and occasional curator. She works on gender, migratory culture, psychoanalysis, and the critique of capitalism. Her 38 books include a trilogy on political art: Endless Andness (on abstraction) and Thinking in Film (on video installation), both 2013, Of What One Cannot Speak (2010, on sculpture) and A Mieke Bal Reader (2006). In 2016 appeared In Medias Res: Inside Nalini Malani’s Shadow Plays (Hatje Cantz), and in Spanish, Tiempos trastornados on the politics of visuality (AKAL 2016). Her video project Madame B, with Michelle Williams Gamaker, is widely exhibited, in 2017 in Museum Aboa Vetus & Ars Nova in Turku, and combined with paintings by Munch in the Munch Museum in Oslo (with a book). Her most recent film is Reasonable Doubt, on René Descartes and Queen Kristina (2016). www.miekebal.org
Berta Sichel is a contemporary art curator, art historian, and theorist with extensive knowledge of international artists and art institutions. She began her career in New York City where she curated exhibitions for the Sao Paulo International Biennial, the Aperto for the Venice Biennale and for North American museums. She has taught at the Media Studies Department at The New School for Social Research. In 2000 she moved to Spain, where she was appointed the Director of the Department of Media Arts, as well as the Chief Curator for Media Arts, at the Museo Reina Sofia in Madrid, where she was responsible for the establishment of a historical video collection, and curating the media exhibitions and public programs, including commissions and production of performances and concerts. Sichel left the Reina Sofia in 2011 to pursue her own projects, while remaining Curator at Large until March 2013. Since then she has curated exhibitions in Spain, New York and Brazil, and in 2014 was the artistic director for the First Bienal Internacional de Arte Contemporáneo Cartagena de Indias, Colombia.
Since 2014 she has been co-directing Bureau Phi, an art agency working internationally to produce exhibitions, public, and editorial projects.
Loy is a professor of Buddhist and comparative philosophy. His BA is from Carleton College in Northfield, Minnesota, and he studied analytic philosophy at King’s College, University of London. His MA is from the University of Hawaii in Honolulu and his PhD is from the National University of Singapore. His dissertation was published by Yale University Press as Nonduality: A Study in Comparative Philosophy. He was senior tutor in the Philosophy Department of Singapore University (later the National University of Singapore) from 1978 to 1984. From 1990 until 2005, he was professor in the Faculty of International Studies, Bunkyo University, Chigasaki, Japan. In January 2006, he became the Besl Family Chair Professor of Ethics/Religion and Society with Xavier University in Cincinnati, Ohio, a visiting position that ended in September 2010. In April 2007, David Loy was visiting scholar at the University of Cape Town, South Africa. From January to August 2009 he was a research scholar with the Institute for Advanced Study, the Hebrew University, Jerusalem. From September through December 2012 he was in residence at Naropa University in Boulder, Colorado, with a Lenz Fellowship. In November 2014, David was a visiting professor at Radboud University in the Netherlands. In January through April 2016, David was visiting Numata professor of Buddhism at the University of Calgary. In June 2014, David received an honorary degree from Carleton College, his alma mater, during its 2014 Commencement. In April 2016 David returned his honorary degree to the College, to protest the decision of the Board of Trustees not to divest from fossil fuel companies.
David Loy is one of the founding members of the new Rocky Mountain Ecodharma Retreat Center, near Boulder, Colorado, www.rockymountainecodharmaretreat.org
Professor of Aesthetics at the University of Rome II (Tor Vergata), is considered as one of the most relevant figures of the current Italian philosophy. Especially noteworthy are his analyzes of art theory, as well as contemporary art and aesthetics. His work is linked to the vanguard, the Situationist International, postmodernism, posthumanism and critical theory. His philosophical formation began as a pupil of Luigi Pareyson at the University of Turin, from which he graduated in 1965. There he also met other important disciples of this philosopher, but somewhat older than himself, such as Gianni Vattimo, Umberto Eco and Sergio Givone. Between 1967 and 1969 he was linked to the Situationist International of Guy Debord, with whom he would maintain a fruitful relationship for years. From 1976 to 1983 he worked as a professor of Aesthetics at the University of Salerno, from where he moved to the Università degli studi di Tor Vergata, where he teaches until his retirement. He has been a visiting professor at various foreign universities in France, Denmark, Brazil, University of Alberta, Japan, University of Kyoto, University of Melbourne), Singapore (National University of Singapore) and USA. UU. (Stanford University). He was the creator and director of Agaragar (1971-1973), magazine linked to the artistic avant-gardes. He has also directed other periodical publications such as Clinamen (1988-1992) or Estetica news (1988-1995). Currently, and with the intention of encouraging the Aesthetic discipline to open to Cultural Studies, directs Agalma magazine. Rivista di studi culturali e di esthetic, created by him in 2000 and published biannually. His book Miracoli e traumi della comunicazione (2009) won several awards, including the prestigious De Sanctis Prize.
Nanna Verhoeff is associate professor at the Department of Media and Culture at Utrecht University. Interested in comparative approaches to changing media forms, she investigates emerging and transforming media cultures from early cinema to contemporary mobile and location-based, interactive screens and installations. Beside her work on 3D cinema and immersive screen media, she has published articles on mobile media, augmented reality, screen-based installations and media architecture. Her books include The West in Early Cinema: After the Beginning (2006) and Mobile Screens: The Visual Regime of Navigation (2012) she is co-editor of a special issue on Urban Cartographies with Television and New Media (Spring 2017). In 2014, she initiated the interdisciplinary research group [urban interfaces] (www.urbaninterfaces.net) at Utrecht University – a platform for research on location-based and mobile media, art and performance in urban public spaces. Currently, she is co-editing a special issue for Leonardo Electronic Almanac: Urban Interfaces: Situated Media, Art, and Performance Making Public Spaces (planned for 2018).
Luigi Manfreda is an associate professor at the University of Rome Tor Vergata, where he is professor of Theoretical Philosophy in the department of literary studies, philosophy and history of art. It is part of the direction of the journal of philosophical studies Telescope. Author, among other things, of “A symbol Aporie. Wise Otto Weininger, “Liguori 1995; “The circle and the mirror. On the basis of Hegel “, La melangolo, 2012. public essays on philosophy and culture magazines. Since 1983 he is editor of the journal of philosophical studies “Il Cannocchiale”. In 1988 he published Nietzsche. Consciousness and the dimensions of historical time, E.S., and “Aporie of the symbol. Saggio su Otto Weininger, “Liguori Editore, 1995. In 2000 he became a researcher in the Department of Philosophical Investigations of Tor Vergata and receives custody of the Chair of Political Philosophy, then that of philosophical hermeneutics. Sale “Time and redemption. Ethics and forms of the language experience of Nietzsche to Simone Weil “, Jaca Book, 2001. Since 2007 he is an associate professor in the Department of Philosophical Research of Tor Vergata University, where he teaches hermeneutic philosophy.
Rogelio López Cuenca (Málaga, 1959), visual artist and independent researcher, he focuses his art practice in the analysis of mass media, the construction of identities and cultural critique. These he develops through publications, workshop, exhibitons, interventions in urban public spaces, TV and the Internet – www.malagana.com -. He applies methods of the visual arts, literature and social sciences.
His most recent work is a series of collaborative projects that focus on the manipulation of history and collective memory – Lima iNN Memoriam (2002), Malaga 1937 (2007), Mappa di Roma (2007), Mapa de Mexico (2010), Saharawhy (2012), Valparaíso White Noise (2013) Mapa de Valencia: Polivalencias (2016) and Los bárbaros (2016).