(in order of appearance)

Heba Y Amin (AE) is a Berlin-based multi-media artist, researcher and lecturer who looks at the convergence of politics, technology, and architecture. Her works and interventions have been covered by the New York Times, Guardian, Intercept, and CNN, among others. She has had recent solo exhibitions at the Mosaic Rooms (London 2020) and the Center for Persecuted Arts (Solingen 2019) as well as Böttcherstrasse Prize Exhibition (Bremen 2018), 10th Berlin Biennale (Berlin 2018), 15th Istanbul Biennale (Istanbul 2017), 11th African Biennale Photography (Bamako 2017), and 12th Dak’Art Biennale (Senegal, 2016).

Amin is the cofounder of the Black Athena Collective and a current Field of Vision fellow (NYC). She also has an extensive repertoire in public speaking and was recently awarded the Sussmann Artist award for artists who are committed to the ideals of democracy and anti-fascism. Furthermore, Amin is one of the artists behind the subversive graffiti action on the set of the television series Homeland, which received worldwide media attention.

Carlos Amorales (MX) studied visual arts at the Gerrit Rietveld Academie in Amsterdam and holds an MFA from the Beeldende Rijksakademie van Kunsten, also in the same city (1992-1997). For more than ten years he developed the Liquid Archive, a collection of images from books, magazines and the Internet, which he transformed into vector graphics and used as the basis of his own visual language. Using this visual database, the artist has ventured into mediums diverse as sculpture, drawing, installation, video, animation, collage and painting. Through the constant reinterpretation and transformation of images in this archive, Amorales’ work became increasingly more abstract – a process he likens to early printing presses.

Zheng Bo (CN) lives and works in Lantau Island, Hong Kong. Committed to multispecies vibrancy, Zheng investigates the past and imagines the future from the perspectives of marginalized communities and marginalized plants. He creates weedy gardens, living slogans, and eco-queer films to cultivate ecological wisdom beyond the Anthropo-extinction event.

His projects are included in Liverpool Biennial 2021, Yokohama Triennale 2020, Manifesta 12, the 11th Taipei Biennial, the 11th Shanghai Biennial, and the performance program of the 58th Venice Biennale in 2019. He has worked with numerous art spaces in Asia and Europe, most recently Kunsthalle Lissabon, ICA Shanghai, @KCUA in Kyoto, Asia Art Archive in Hong Kong, Parco Arte Vivente in Torino, Villa Vassilieff in Paris, and TheCube Project Space in Taipei. His works are in the collection of Power Station of Art in Shanghai, Hong Kong Museum of Art, Singapore Art Museum, Hammer Museum in Los Angeles, among others.

In 2020, as artist-in-residence at the Gropius Bau in Berlin, he is engaging in conversations with plant scientists and ecologists to speculate how plants practice politics.

He taught at China Academy of Art from 2010 to 2013, and currently teaches at the School of Creative Media, City University of Hong Kong, where he leads the Wanwu Practice Group.

Ibrahim Nehme (LB) is a creator, curator, and speaker based in Beirut. His work is a cross-pollination between research, art, and activism, and could be understood as a series of attempts to shift the collective consciousness.

In 2012 he founded The Outpost magazine. As a printed ‘magazine of possibilities,’ its intention was to become a platform through which young Arabs could articulate and disseminate new narratives about who they are and who they could be. Through alternative storytelling, The Outpost imagined and unlocked new futures in the Arab world. The Guardian wrote that “The Outpost is a reminder of the power of the imagination to shift perspectives” and described it as “a successor to the Economist”; Buzzfeed selected it as “one of fifteen small printed magazines you need to read”; and Monocle Radio named it as one of the top three magazines of 2015.

More recently, Ibrahim has been researching underground economies, radio networks, club culture, and various forms of mythmaking, as part of a larger study that examines the relationship between cultural output and social impact. The research has thus far led to the creation of Radio Mansion in Beirut and The Outpost café in Amman. He is currently uploading the entire printed archive of The Outpost to a new digital platform, as well as sowing the seeds of new live performances for the theater.

Joanna Warsza (PL/ DE) is the program director of CuratorLab at Konstfack University in Stockholm and an independent curator in the fields of public art, visual and performing arts and architecture. She is interested in public sphere, the political and the performative or in how the post-colonial theory navigates the regions of Eastern Europe.

During the pandemic she co-curated Die Balkone, a project in windows and balconies of Berlin, together with Ovul O. Durmusoglu, with whom she currently prepares the 3rd Autostrada Biennale in Kosovo. Joanna edited, among others: I Can’t Work Like This: A Reader on Recent Boycotts and Contemporary Art (Sternberg Press, 2017), Empty Stages, Crowded Flats: Performativity as Curatorial Strategy (with Florian Malzacher, Alexander Verlag, 2017), or A City Curating Reader (with Patricia Reed, Motto Books, 2018). Originally from Warsaw, she lives in Berlin.

Tara Lasrado (AU/ IN/ CH) is an independent producer and curator particularly interested in working on experimental, collective and interdisciplinary collaborations for diverse audiences. From 2013 – 2016 she worked for Manifesta, the European Biennial of Contemporary Art, in both the head office in Amsterdam on Manifesta 10, St. Petersburg and in the local Manifesta 11 team in Zürich.

Since 2016 she has been active in various projects including AKI AORA artist residency, Forward Festival Zürich, «Fun & Fury» performance program at Cabaret Voltaire; and «Gemeinsam wie Bienen» as part of «About Us! Zürich Interkulturell». In 2018 Tara co-founded and curated Progetto 6000 to initiate a cultural exchange for emerging artists from Ticino in art institutions and off-spaces in Zürich. Since 2019, she is a co-producer for «under the mango tree», a self-organised gathering of “unlearning” that took place in Shantiniketan, India in February 2020 and focused on land-based learning, rural and performance practices by small-scale artist-led initiatives from indigenous practices and the global south.

Currently, Tara is the vision director of ecologyx, a collaboration with the Crowther Lab, ETH Zürich. She cultivates transdisciplinary exchange amongst artists, scientists and local communities, by bringing together theory and practice to create glocal impact, solidarity and action around the conservation and restoration of natural ecosystems. She is also the production manager of experi_theater Zürich currently working on «Protokolle Tilo Frey», an experimental performance work consisting of a performance in an empty theatre space, a «colonial Walk» in the public space; and the Blackbox – a performative BIPOC/s space/archive in the middle of the city.
«During these two days we’ve seen so many examples of practices that can inform our own, examples that urge us to reflect, as curators, researchers, artists, even as neighbours on the ways in which we can engage in the NEW NOW.
Today's talks were not just informative, thought provoking and full of insights, but also inspiring and moving. I say this for myself and by following the comments and question from the group and our facebook audience.
We might see them as friendly provocations to stretch out even more the already porous borders of artistic and curatorial practice towards (or through?) journalism, activism, community or public acts.» Georgiana Buț