John Beeson's writing has appeared in Artforum, Texte zur Kunst, Spike, Starship, and in the series castillo/corrales today, among other places. He served as Editor of Out of Body, Out of Time, and Out of Place, published by Skulptur Projekte Münster 2017. He has also worked for Société, Manifesta, Texte zur Kunst, and Spike. Together with Daniel Herleth and Cameron Rowland, Beeson co-edits the book series TND, whose latest title is Close to Now.
Andrew Berardini. Born in California. Lives in Los Angeles. Father of Stella. Writer of quasi-essayistic prose poems about art and other sensual subjects, occasional editor and curator with past exhibitions with MOCA - Los Angeles, Palais de Tokyo - Paris, and Castello Di Rivoli - Turin and recent co-curator of the second Lulennial in Mexico City. Formerly held curatorial appointments at LAXART and the Armory Center for the Arts and was once on the editorial staff of Semiotext(e). Recentish author of Danh Vo: Relics (Mousse, 2015) and currently finishing a book about color and another about how to be an unprofessional artist. Regular contributor to Artforum, Spike, and ArtReview and an editor at Mousse, Art-Agenda, Momus, and the Art Book Review. Warhol/Creative Capital and 221a Curatorial Grantee. Faculty at the Mountain School of Arts since 2008 and the Banff Centre since 2014. His research interests include art writing as a form of literature, color, radical subjectivity, ecstatic resistance, romance, literary chimeras, corporeality, language as incantation, the permeability between fiction and reality, underground culture, the erotics of art, and the aesthetic history of California.
A worn t-shirt and expressions of the inexpressibleMélanie Matrangaaccording toAndrew Berardini
Orit Gat is a writer living in New York whose work on contemporary art and digital culture has appeared in a variety of magazines including literary publications like The White Review (where she is a contributing editor) and the Times Literary Supplement, art magazines such as frieze and ArtReview, and general interest publications like The World Policy Journal and VICE. She is a winner of the Warhol Foundation Arts Writers Grant and was a finalist for the Absolut Art Writing Award. Gat is an editor of art-agenda, she also teaches and lectures on art and technology in a variety of universities and art institutions around the world.
Christina Li is a curator working between Hong Kong and Amsterdam, the Netherlands. She graduated from the University of Hong Kong with a degree in Fine Arts (Art History) and Comparative Literature, and completed de Appel Curatorial Programme in 2009. Christina was the Curator-at-Large at Spring Workshop, Hong Kong where she served as the Director between 2015 and 2017. Her most recent exhibition Dismantling the Scaffold is the inaugural exhibition at Tai Kwun Contemporary, Hong Kong (2018) and at Spring, she curated among other projects: A Collective Present (2017); Wu Tsang: Duilian (2016), Wong Wai Yin: Without Trying (2016), Days push off into nights (2015), and Des hotes: a foreigner, a human, an unexpected visitor (2015). With Heman Chong, she has launched Stationary, a collection of short stories, and co-edited the upcoming volume with writer and artist Malak Helmy which can be found on www.stationarystories.com.
Christina previously worked as a curator at Para/Site Art Space (Hong Kong) from 2005 to 2008, and was the Assistant Curator of Making (Perfect) World: Harbour, Hong Kong, Alienated Cities and Dreams, the Hong Kong Participation of the 53rd Venice Biennale. Her other projects include: The Goethe-Institut’s Pyongyang Reading Room: Between Object and Shadow (Goethe-Institut Amsterdam, 2013); A Map of Misreading (TENT, Rotterdam, 2012); Icarus 13: Cinematic Narratives from Elsewhere (BAK, Utrecht, 2011); Prologue – Speculations on the Cultural Organisation of Civility (SKOR and various locations, Amsterdam, 2010); Not Yesterday, Not Tomorrow (Cable Factory, Helsinki, 2009); and Weak Signals, Wild Cards (de Appel, Amsterdam, 2009). As a writer, she has contributed to catalogues and publications such as Artforum, Art Review Asia, LEAP, Parkett, Spike, and Yishu Journal of Contemporary Art.
Sarah Rifky is a writer and curator. She is co-founder of Beirut (2012–15), an art institution in Cairo. She is the founder of the CIRCA (the Cairo International Resource Center for Art). She is co-editor of Positionen: Zeitgenössische Künstler aus der Arabischen Welt (2013) and author of The Going Insurrection (2012). Together with Walker Downey, she is co-editor of Thresholds 47, Repeat. Rifky is a Ph.D. Candidate in History, Theory, and Criticism, and the Aga Khan Program for Islamic Architecture at MIT, writing (on) Cultural Infrastructure. She lives in Boston.
Coming upKapwani Kiwangaaccording toSarah Rifky
Chris Sharp never set out to become a curator. The independent writer, curator and co-founder of micro hybrid project space, Lulu in Mexico City, thought originally of becoming a novelist. While these literary leanings are long in the past, their influence remains present in Chris’ animated and prolific arts writing. Chris has written artist monographs and contributed critical texts to publications on the work of numerous artists from around the world. He was previously news editor at Flash Art International and editor-at-large of Kaleidoscope, is currently a contributing editor of Art Review and Art Agenda and has been published in many major and independent art magazines and online publications.
Coming upJean-Charles Hueaccording toChris Sharp
Mike Sperlinger is a writer and curator, and currently Professor of Writing at the Oslo Academy of Fine Art. He has written many catalogue texts, including recently for exhibitions by Ed Atkins, Ruth Buchanan and Gerard Byrne, and has edited several books, including Here Is Information. Mobilise (a selection of writings by the late artist Ian White) and the forthcoming TRACKS: An Anthology (a selection from a 1970s journal of artists’ writings, with Herbert George). Current curatorial projects include Sad Disco Fantasia, a festival of film-as-event with Kunsthall Oslo, and (with Kirsty Bell) the exhibition Ian White: Any Frame is a Thrown Voice for Camden Art Centre. Previously he was Assistant Director of LUX, a London-based organisation for artists working with the moving image, for more than a decade and has subsequently produced several films.
Nora Sternfeld is an educator and curator. She is currently Professor of Curating and Mediating Art at the Aalto University in Helsinki and designated documenta Professor at the Kassel School of Art and Design. Furthermore she is co-director of /ecm — Master Program in exhibition theory and practice at the University of Applied Arts Vienna, part of trafo.K, Office for Art, Education and Critical Knowledge Production based in Vienna (w/Ines Garnitschnig, Renate Höllwart, Elke Smodics) and of freethought, a platform for research, education, and production based in London (w/Irit Rogoff, Stefano Harney, Adrian Heathfield, Mao Mollona, Louis Moreno). In this context she was one of the artistic directors of the Bergen Assembly 2016.
Ana Teixeira Pinto is a writer and cultural theorist based in Berlin. She is a lecturer at Universität der Künste, Berlin, and a research fellow at Leuphana University, Lüneburg. Her writings have appeared in publications such as e-flux journal, Springerin, Afterall, Mousse, Frieze, Domus, Camera Austria, Inaesthetics, Manifesta Journal, or Texte zur Kunst. She is the editor of The Reluctant Narrator (Sternberg Press, 2014) and has recently contributed to Alleys of Your Mind: Augmented Intelligence and its Traumas (edited by Matteo Pasquinelli, 2015); Nervöse Systeme (edited by Anselm Franke, Stephanie Hankey and Marek Tuszynski, 2016); and Animals: Documents of Contemporary Art (MIT Press, 2016).
Rachel Valinsky is an independent curator, writer, and translator based in New York, where she is a doctoral student in Art History at the Graduate Center. She is currently a Friday Night Reading Series Curator at the Poetry Project, a Curatorial Fellow at The Kitchen and, a Co-Founder of Wendy’s Subway, a nonprofit library and writing space in Brooklyn. Rachel was an art writer-in-residence at the Banff Centre in 2015 and an art critic-in-residence at CUE Art Foundation and Art21 Magazine in 2016. Her writing has appeared in Art in America, BOMB, East of Borneo, Millennium Film Journal, and C Magazine, among others. She is the editor of Warm Equations (Édition Patrick Frey, 2016) and Scott Reeder (Mousse, 2017). Translations are forthcoming from Semiotexte (Los Angeles) and Editions Lutanie (Paris). She currently teaches Art History at Hunter College.