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Karl Gustafsson is a Professor at Stockholm University within the Department of Economic History and International Relations. His work bridges security studies , collective memory , and digital research methods in international relations. Current Role: Professor of International Relations, Stockholm University Previous Positions: Post-Doc at Lund University, Researcher at Swedish Institute of International Affairs Visiting Appointments: University of Tokyo, Osaka University, Keio University, Academia Sinica, Nordic Institute of Asian Studies Research Focus: Karl specializes in memory politics , ontological security , and anxiety-driven international dynamics , particularly in Sino-Japanese relations and digital platforms . His studies explore how historical narratives and online memory construction influence state identity and policy. Awards & Grants: Recipient of the Wang Gungwu Prize (2014) and Stockholm University Association’s award (2011). Holds Swedish Research Council and Marianne & Marcus Wallenberg Foundation grants for projects on apologies in international politics and digital memory in East Asia . Publications: His work appears in journals such as International Studies Quarterly , European Journal of International Relations , and Memory Studies , addressing topics like narrative power in East Asia, anxiety’s role in policy change , and digital humanities applications in IR.

• International Relations
• Security Studies
• Collective Memory in Global Politics
• +2 more

Roswitha Skare is a Professor of Documentation Science at the Department of Language and Culture, UiT The Arctic University of Norway, within the Faculty of Humanities, Social Sciences and Teacher Education. She is actively engaged in research and teaching, focusing on documentation studies, public libraries, archives, museums (LAM sector), digitalization, and film history. Her research interests include: Documentation and document theory Paratext and digital documents Public libraries and their role in society Libraries and social media Migration and refugee services in libraries Film history, especially silent films and early documentaries Cultural memory and Sámi cultural resilience Institutional convergence in cultural policy Her recent publications (2019–2025) reveal a strong focus on public libraries during and after the Covid-19 pandemic, the role of libraries in supporting immigrants and refugees, theoretical developments in document studies, and historical film analysis—particularly Robert Flaherty’s Nanook of the North . She frequently collaborates with scholars such as Andreas Vårheim, Noah Lenstra, and Sigrid Stokstad. Her work appears in journals like Journal of Documentation , Library & Information Science Research , and Proceedings from the Document Academy . Roswitha Skare teaches courses such as: MDV-1001: Multimediale dokumenter: Historie, teori og analyse MDV-1203: Bibliotek og formidling MDV-1207: Dokumentinstitusjoner og digitalisering MDV-1206: Prosjektoppgave i bibliotek- og dokumentasjonsvitenskap She supervises bachelor’s, project, and master’s students in library and documentation science. She is a member of the research group Engaging Conflicts in a Digital Era (ENCODE) and participates in projects such as LAMCOM – Libraries, archives, and museums in the community and SAMCOM - Sámi cultural centers as community and cultural resilience infrastructure , which explore the societal roles of cultural institutions and Indigenous resilience. No scientific awards are listed in the provided text.

• Documentation Studies
• Document Theory
• Paratext
• +12 more

Alison Landsberg is a Professor at George Mason University, affiliated with the Department of History and Art History and the Cultural Studies PhD program. Her research focuses on the politics of memory, affective engagements with the past, visual culture, and the intersections of race, aesthetics, and history. A leading scholar in memory studies, she explores how mass media and popular culture shape historical consciousness and political subjectivity. Her seminal works include *Prosthetic Memory* (2004) and *Engaging the Past* (2015), which analyze how mediated experiences of history foster empathy and progressive politics. Landsberg’s interdisciplinary work bridges film studies, cultural theory, and historiography. She examines how audiovisual media—from films to immersive digital exhibits—produce alternative historical narratives that challenge traditional academic historiography. Her current project, *Impossible Histories*, critiques conventional ‘historicism’ and explores counterhegemonic modes of historical representation. Her teaching spans courses on historical cinema, visual culture, and the politics of memory. She has advised over 20 doctoral students, many of whom explore topics like public history, digital memory, and cultural activism. Landsberg is a frequent keynote speaker at international conferences and has contributed to NPR’s *On the Media* and *The American Scholar* on topics ranging from racial representation to post-postracial America. Landsberg’s research emphasizes the urgency of rethinking historical engagement in an era of fragmented media and contested identities. Her work underscores the ethical and political stakes of how societies remember—and forget—the past.

• Memory Studies
• Cultural Studies
• Film Studies
• +7 more

Jennifer Minner is an Associate Professor in the Department of City and Regional Planning at Cornell University’s College of Architecture, Art, and Planning. She directs the Just Places Lab and is actively engaged in research on urban change, memory, and equitable development. Her affiliations span urban planning, regional science, and media studies, and she serves on the faculty advisory board of Cornell Cinema. Ph.D. in Community and Regional Planning, University of Texas at Austin M.U.R.P., Portland State University B.A. in Cultural Anthropology, University of Washington Her research centers on adaptive reuse, circular economies in cities, historic preservation, and social justice . She investigates how communities care for, preserve, and reimagine places through participatory planning and material reuse. Her work connects urban policy with climate action, embodied carbon, and the social legacies of mega-events such as the Olympics and World Expos. She uses spatial analytics, film, and community-based methods to explore equitable urban futures. Her recent publications reflect a strong trend toward environmental justice, circular construction, and urban memory . Topics include deconstruction policy, UAVs in preservation, and post-mega-event urban development. These works span disciplines including urban planning, sustainability, media studies, and public policy, with a consistent focus on equity and community engagement. Town and Gown Award (2024) for CR0WD network Climate Neutral Cities Alliance grant on embodied carbon and justice Atkinson Center Fast Grant for NYS circular construction policy NCPTT grant on reuse scenario planning with 3D modeling Mui Ho Center grant on scaling circular construction in NY Jennifer Minner mentors graduate and undergraduate researchers, co-founded the CR0WD network, and leads the CURTA-Y student club. She has secured multiple grants focused on deconstruction, policy design, and community engagement. Her teaching includes courses on circular cities, land use planning, and advanced planning theory, emphasizing participatory and justice-oriented methods. She leads the Just Places Lab , which fosters interdisciplinary research on urban care, memory, and equity. The lab collaborates with the Circular Construction Lab, Historic Ithaca, and community partners on exhibitions, walking tours, and policy initiatives. Projects like Deconstructing Demolition and Waste(d) Imagination Tour exemplify their community-engaged, creative approach to urban sustainability.

• Urban Planning
• Historic Preservation
• Circular Economy
• +12 more

Haidy Geismar serves as Professor of Anthropology at University College London (UCL), where she is affiliated with the Department of Anthropology. She co-directs UCL's Digital Anthropology Program and is the founding director of the School for the Creative and Cultural Industries at UCL East. Geismar also serves as curator of the UCL Ethnography collections, facilitating exhibitions with community groups, students, and artists. Her institutional affiliations extend to the Tate and Victoria and Albert Museum in London, where she maintains long-term professional relationships. Geismar's research explores the intersections of intellectual and cultural property, indigenous rights, and colonial legacies with digital technologies and museum practices. Her work focuses on how digital platforms transform cultural representation, particularly in the South Pacific region including Vanuatu and New Zealand. She investigates how communities engage with digital collections, examining both the materiality of digital objects and their social implications. Her research demonstrates how indigenous knowledge systems interact with contemporary digital infrastructures to create new forms of cultural expression and preservation. Analysis of Geismar's recent publications reveals a clear trajectory toward examining the material dimensions of digital culture within museum and archival contexts. Her work increasingly addresses how digital technologies reshape cultural heritage practices while maintaining critical attention to postcolonial perspectives. There is a notable emphasis on sensory experiences in digital spaces, the politics of representation in digital collections, and the ways digital platforms enable or constrain indigenous knowledge systems. Geismar's professional recognition includes: Mellon Research Fellow at Tate (2019-2020) Fellow of the Royal Anthropological Institute Chairperson of Te Maru o Hinemihi (since January 2024) Photography Committee member of the Royal Anthropological Institute (2016-2024) While specific grant information isn't detailed in the available materials, Geismar's sustained research projects indicate successful funding acquisition. Her long-term collaborations with the Vanuatu Cultural Centre since 2000 and with Maori curators in New Zealand since 2004 suggest significant research support. Current projects like 'Finding Photography' and 'Collecting in Context' demonstrate ongoing research activity requiring funding. Geismar has created the Culture Lab at UCL East, an experimental curatorial space designed as a collections-rich environment for innovative display and research. This facility serves as a hub for her work with the School for the Creative and Cultural Industries, which brings together academic research with creative practice. The Culture Lab hosts exhibitions like 'Power!' and facilitates collaborations between university researchers, community groups, and students, creating a dynamic space for exploring the intersection of material culture and digital technologies.

• intellectual and cultural property
• indigenous rights
• colonial histories and legacies
• +10 more

Miryam Sas is a Professor of Comparative Literature at the University of California, Berkeley. Her work bridges Japanese literature, film, theater, and avant-garde arts with critical theory. She specializes in 20th-century cultural movements, postwar Japanese experimental arts, and media theory. Her research includes studies on surrealism, intermedia, and post-Holocaust representation, with notable works like Feeling Media: Potentiality and the Afterlife of Art (2022) and Experimental Arts in Postwar Japan (2010). Her research interests span Japanese modernism, intermedia art, feminist film analysis, and photographic theory. She has curated exhibitions for institutions such as MoMA, the Getty Museum, and the Mori Art Museum, contributing essays on postwar avant-gardes and Japanese photography. Recent projects include translations of modernist poets Sagawa Chika and Ema Shōko, and collaborative archival work on Finding Zbaraż . Prof. Sas has been awarded the UC President’s Research Fellowship for her media theory work. Her teaching focuses on critical theory, Japanese cinema, and media studies, offering courses on infrastructural aesthetics and transnational Asian media. She actively participates in interdisciplinary dialogues through lectures and radio programs like France Culture’s La Fabrique de l’Histoire .

• Japanese Literature
• Film Studies
• Theater Studies
• +7 more

Golan Levin is Professor of Electronic Art at Carnegie Mellon University's School of Art, with courtesy appointments in the School of Design, School of Architecture, School of Computer Science, and Entertainment Technology Center. From 2009 to 2022, he served as Director and Co-Director of CMU's Frank-Ratchye STUDIO for Creative Inquiry, a laboratory dedicated to supporting atypical, anti-disciplinary research at the intersection of arts, science, technology, and culture. Levin's research spans interactive art, digital fabrication, information visualization, and generative design. He explores the critical potential of visualization, generative computation for expressive form, and how abstraction connects to realities beyond language. His practice engages interactive gestural robotics, nonverbal interaction aesthetics, and tactical applications of personal digital fabrication through responsive artifacts and media provocations that highlight human-machine relationships. His publications reveal consistent innovation in real-time audiovisual systems, interactive fabrication interfaces, and pedagogic tools for artists. Key trends include slit-scan video techniques, tangible augmented-reality performance, and noise-based visualizations, demonstrating his commitment to expanding human action vocabulary through digital media while bridging artistic expression with computational systems. Levin's work has received significant recognition: Permanent collection inclusion at Museum of Modern Art (MoMA) Whitney Biennial exhibition "50 Designers Shaping the Future" by Fast Company (2012) Competitive grants from National Endowment for the Arts, National Endowment for the Humanities, Creative Capital, and Rockefeller MAP Fund As an educator, Levin teaches "studio courses in computer science" on interactive art, experimental capture, and generative design, emphasizing computation as a medium for critical inquiry. His research funding from major cultural institutions supports interdisciplinary exploration at the arts-technology nexus. The Frank-Ratchye STUDIO for Creative Inquiry, which he directed for 13 years, remains a vital hub for anti-disciplinary collaboration, continuing his legacy of fostering creative agency through technology-infused artistic practice.

• Interactive Art
• Digital Fabrication
• Information Visualization
• +4 more

Dr Alexander Jacoby is a Senior Lecturer in Japanese Studies at Oxford Brookes University, affiliated with the School of Education, Humanities and Languages. He is also the Director of the Europe Japan Research Centre, where he promotes academic collaboration between Europe and Japan. His teaching spans undergraduate and postgraduate levels, covering Japanese cinema, manga, anime, classical arts, and translation. Research Interests: Alexander's primary research focuses on classical and contemporary Japanese cinema. He explores themes such as family dynamics, gender, space, and national identity in Japanese film. His work bridges academic scholarship and public film criticism, contributing to both scholarly journals and major cultural publications. Publication Trends: His recent articles examine socio-cultural themes in modern Japanese cinema, particularly family structures and contested national narratives. These works reflect a consistent engagement with postwar Japanese society as portrayed through film, with an emphasis on directors like Hirokazu Koreeda and Yoshimura. Notable Presentations: 'Hirokazu Koreeda's Family Values' (2021) 'Crime and Punishment in the Films of Hirokazu Koreeda' (2018) 'Female Self-Determination in Yoshimura's Kyoto' (2017) Professional Engagement: Jacoby has curated Japanese film retrospectives at prestigious institutions including the British Film Institute (London), Museum of Modern Art (New York), Il Cinema Ritrovato (Bologna), and Giornate del Cinema Muto (Pordenone). He has also served as Year Abroad Tutor, supporting student exchanges and international learning. Labs and Research Groups: He chairs the Europe Japan Research Centre, a hub for interdisciplinary research on Japan-Europe relations in media, culture, and society.

• Japanese Cinema
• Classical Japanese Film
• Contemporary Japanese Cinema
• +7 more

Dr. Caterina Albano is a Reader at Central Saint Martins, University of the Arts London. She holds a PhD in Renaissance Studies (London University, 1993–1998) and specializes in interdisciplinary research at the intersection of art, medical sciences, and cultural theory. Her work explores the cultural history of emotion, politics of memory, and contemporary art practices, with a focus on themes like fear, vulnerability, and the unconscious. Albano is a prominent curator, organizing exhibitions such as Psychoanalysis: The Unconscious in Everyday Life (Science Museum, London) and Crossing Over: Art, Science and Biotechnologies (Royal Institution). She also co-founded the Art and Science Research Group at CSM and chairs the College Research Degree Subcommittee. Her research integrates curatorial practice with academic inquiry, addressing topics such as neuroscience, biogenetics, and the ethics of air in contemporary art. Albano supervises doctoral students in art and curatorial practices and actively contributes to academic discourse through editorial roles and grant assessments. She speaks multiple languages, including Italian, French, German, and English, and her work bridges art, science, and humanities to explore complex cultural and societal issues.

• Art
• Cultural History
• Medical Sciences
• +7 more

Sarah Wilson is Professor of Modern and Contemporary Art at The Courtauld Institute of Art, University of London. She has been a faculty member since 1982 and has held leadership roles including Head of the Modern and Contemporary Section (2005-2008) and Head of Diploma programmes (2014-2015). She is internationally recognized as the English-language expert on Post-War European art and has held visiting positions at Paris-IV Sorbonne and the University of Versailles-Saint Quentin. Wilson was educated at the University of Oxford (BA English Literature) and at the Courtauld Institute of Art (MA and PhD). She was awarded the title Chevalier des Arts et des Lettres in 1997 for services to French art and culture, and received the International Association of Art Critics' Award for Distinguished Contribution to Art Criticism in 2015. She has held visiting professorships at Paris-IV Sorbonne (2002-2004), École Nationale Supérieure des Beaux-Arts (2006-2007), and University of Versailles-Saint Quentin (2012-2013). Sarah Wilson's research spans post-war and Cold War European art, contemporary global art practices, and the intersections between conceptual art, political theory, and visual culture. Her work extends from European avant-gardes to contemporary art across the former Soviet Union and Asia. She is particularly known for her expertise in French Stalinism, neo-Marxism and the arts, and conceptual art practices beyond the 'first world.' Wilson has initiated important academic programs such as the 'Global Conceptualism' MA course with Boris Groys, which connects Anglo-American conceptual art with practices from Moscow and beyond. She has also expanded her research to include modern and contemporary Asian art since 2013. Her extensive publication record shows a consistent focus on European art history with increasing engagement with global perspectives, particularly Asian contemporary art since 2013. Wilson's scholarship bridges art historical analysis with philosophical inquiry, especially regarding French theory and its visual manifestations. Her major publications include 'Paris, Capital of the Arts, 1900-1968' (2002) and 'The Visual World of French Theory: Figurations' (2010), with a second volume 'The Visual World of French Theory II: Interventions' in preparation. Chevalier des Arts et des Lettres (1997) International Association of Art Critics' Award for Distinguished Contribution to Art Criticism (2015) Marie Curie Actions – RBUCE-UP, Chaire d'excellence, Université de Versailles-Saint Quentin (2012-2013) Professor Wilson has supervised 36 PhD students to completion and over 230 MA dissertations, creating what she describes as 'a unique English-language archive in the field of post-1945 European and global art history.' Her former students now hold prominent positions in major institutions worldwide including Tate, the British Museum, Design Museum, Scottish National Gallery of Modern Art, British Council, Centre Georges Pompidou, Kunsthalle Bremen, and universities across Europe and North America. She has received significant research funding including a Marie Curie Actions grant for her project 'Globalisation before globalisation: avant-gardes, academies, revolutions.' Wilson is actively involved with the Courtauld alumni's former East Wing Collection (now VS1, Vernon Square) and has contributed to the Research Forum's programmes. She has curated numerous exhibitions including the 'Global Conceptualism'-related projects and served on the curatorial team of the 1st Asian Biennale (China-Guangzhou) in 2014. Her commitment to women artists has led to early exhibitions of artists like Zofia Kulik and Alina Szapocznikow before their international prominence. She is involved with CCRAC (Cambridge-Courtauld Russian Art Centre), Calvert 22, and Pushkin House in London, reaching out to Russia and Eastern Europe.

• Post-war European art
• Cold War art
• Contemporary global art
• +7 more

Nicholas Mortimer is a Senior Lecturer in Design at Goldsmiths, University of London. He holds an MA in Design Interactions (Royal College of Art, 2013) and a BA in Fine Art Sculpture (University of Brighton, 2005). His work focuses on socially engaged design practices, reimagining historical performance traditions to address contemporary labor and societal issues. As co-founder of Post Workers Theatre (PWT), he explores workers’ theatre and creative resistance through collective writing, performance, and design. His research spans topics like gig economy critiques, housing privatization, and community activism, often blending performance, sound, and participatory methods. Education: MA Design Interactions, Royal College of Art, 2013 BA Fine Art Sculpture, University of Brighton, 2005 Research Interests: Performance as social critique Historical folk traditions and modern labor struggles Community-driven design practices Radical pedagogy and participatory methods Key Projects: Post Workers Theatre : Investigates politically engaged performance, addressing labor inequality through updated workers’ theatre forms. Autohoodening : Critiques Amazon labor practices via a reimagined midwinter ritual. Rave of the Ritualesque : Examines rave culture’s potential for collective resistance. Affiliations: Department of Design, Goldsmiths, University of London IASPIS (Swedish Arts Grants Committee) residency collaborations Labs/Teams: Post Workers Theatre collective Collaborations with institutions like Tate Liverpool, Luleå Arts and Crafts Biennale, and the Maidstone Museum

• Performance Design
• Labor Studies
• Social Activism through Art
• +3 more

Enrique Sánchez Lansch is a Professor of Media Dramaturgy at the Institute for Music and Media at Robert Schumann University of Düsseldorf, appointed in 2018. Born in Gijón, northern Spain, and raised in Cologne, he has established himself as a prominent documentary filmmaker with a strong focus on music-related subjects. His educational background includes studies in music with a focus on singing, Romance languages, philosophy, and German studies. He completed his master's thesis on adaptation of literature into music films. After gaining professional experience in fictional series production, he pursued further studies in film and screenwriting at Columbia University and UCLA. Sánchez Lansch's research and creative interests center on the intersection of music and visual media. His work explores how musical experiences can be effectively translated to film, examining the relationship between sound and image. He has particular expertise in documenting musical institutions, historical contexts of music, and the educational aspects of musical performance. His approach combines rigorous historical research with innovative visual storytelling techniques that respect the integrity of musical performance while creating compelling cinematic narratives. His filmography reveals a consistent focus on music documentaries that bridge cultural and historical contexts. Early works focused on major musical institutions and figures, while more recent projects have expanded to examine the relationship between music and broader social, political, and cultural phenomena. His films consistently demonstrate a sophisticated understanding of both musical content and cinematic storytelling. His notable awards include: German Film Award German Documentary Film Award Bavarian Film Award German Critics' Award German Kinogilde Award Franz Hofer Prize Best Documentary Film at Los Angeles Latino International Film Festival Best Documentary Film at SEMINCI Festival de Valladolid Diapason d'Or Emmy nomination for "A Celebration for Gershwin" Sánchez Lansch has served as a mentor to young filmmakers, notably curating and presenting music short films by young talents for the Beethovenfest Bonn from 2006 to 2013. His professional activities extend beyond filmmaking to include teaching at institutions such as the dffb (German Film and Television Academy Berlin) and his current professorship at Robert Schumann University. He is an active member of both the German Film Academy and the European Film Academy, contributing to the broader film community through these organizations. As Professor of Media Dramaturgy, Sánchez Lansch contributes to the academic framework of the Institute for Music and Media, bringing his extensive professional experience to bear on the education of future media creators. His work bridges the gap between academic study and professional practice in the field of music-related visual media.

• Documentary filmmaking
• Music visualization
• Media dramaturgy
• +3 more

Iain Robert Smith is a Senior Lecturer in Film Studies at King’s College London, specializing in transnational cinemas, cult film studies, and transnational adaptation. He previously held a Senior Lecturer position at the University of Roehampton (2010–2016). His research challenges hegemonic views of cultural globalization by examining how Hollywood films are remade and adapted across cultures. He co-founded the SCMS Transnational Cinemas group and led the AHRC-funded 'Media Across Borders' research network (2012–). Smith holds a PhD and MA in Film Studies (Distinction) from the University of Nottingham and a First-Class MA (Hons) in English Literature and Film Studies from the University of Glasgow. His research interests include Transnational Cinemas post-1945, Global Hollywood, Popular Cinemas of Asia (especially India and Turkey), and Cult/Exploitation Horror Cinema. He co-edited Transnational Film Remakes (2017) and Media Across Borders (2016), and authored The Hollywood Meme (2016). Current projects include a book on global Batman adaptations and a decolonizing critique of cult film studies. Awards: AHRC/BBC New Generation Thinker (2018), Senior Fellow of the Higher Education Academy (2018) Teaching: Specializes in film history, world cinema, and cult/exploitation cinema. Organized festivals like the Turkish Film Remakes event (2022) and the Turkish Star Wars UK tour (2018). Publications: Over 30 peer-reviewed articles and edited volumes, with recent focus on global horror dynamics, decolonizing film studies, and transnational giallo remakes. He serves on editorial boards for Transnational Screens and Intensities: Journal of Cult Media , and founded the 'Remakesploitation Film Club' at The Cinema Museum. His work bridges academic research with public engagement through film screenings and director Q&As.

• Transnational Cinemas
• Global Hollywood
• Cult Cinema Studies
• +5 more

Professor Juliet John is a leading scholar in Victorian literature and cultural studies, particularly renowned for her expertise on Charles Dickens. She serves as Dean of Arts & Social Sciences at City, University of London, following roles as Hildred Carlile Chair of English Literature at Royal Holloway, University of London, and leadership positions including Head of Humanities and Director of Victorian Studies centers. Educated at Selwyn College, Cambridge (BA, Double First) and University College London (PhD), her research spans Dickens, melodrama, popular culture, digital humanities, and heritage studies. She advises institutions like the Dickens Museum and has received fellowships from the Royal Society of Arts and English Association. Her work bridges academia and public engagement, with projects like the AHRC-funded Gladstone Catalogue and collaborations on cultural policy. Awards include teaching excellence and invited keynotes globally. Research interests include Victorian literature's intersection with mass culture, adaptation studies, and digital humanities. Her books include *Dickens and Mass Culture* (2010) and *Reading and the Victorians* (2016, co-edited). Recent work explores Dickens's global legacy in *The Edinburgh Companion to Charles Dickens and the Arts* (2024). She has held leadership roles in pedagogy, including Director of Student Experience at Liverpool. Professional activities include peer review for AHRC and strategic roles in academic organizations. Key achievements: Founded the Gladstone Centre for Victorian Studies; co-organized the Dickens Society of America’s 2020 colloquium; curated the Charles Dickens Museum’s *Global Dickens* exhibition. Awards include the prestigious FRSA and FEA. Current focus includes metamodern melodrama and digital approaches to Victorian studies.

• Victorian Literature
• Cultural Studies
• Dickens Studies
• +6 more

Bénédicte Savoy (born May 22, 1972 in Paris) is a renowned French art historian and Professor of Modern Art History at the Technical University of Berlin since 2009. Since 2016, she has also held positions at the Collège de France in Paris (2016-2021) and in November 2024 was appointed to the 'Cátedra del Prado' visiting professorship at the Prado Museum in Madrid. She is internationally recognized as a leading expert on cultural property restitution, particularly regarding colonial-era art theft and looted artifacts. Her research focuses on the complex histories of cultural displacement, with particular emphasis on European museums' colonial collections. Savoy has pioneered critical approaches to provenance research and has been instrumental in reshaping global debates about museum ethics and restitution practices. Her work bridges art history, postcolonial studies, and cultural policy, challenging traditional museum narratives and advocating for more transparent and ethical approaches to cultural heritage. Savoy's publications form a cohesive intellectual trajectory examining how cultural property has been transferred, often forcibly, across borders and continents. Her recent work increasingly focuses on African cultural heritage in European collections, with detailed case studies of Cameroon and broader analyses of restitution politics. The themes of historical justice, museum transparency, and decolonization of cultural institutions run consistently through her scholarship. Gottfried Wilhelm Leibniz Prize (2016), Germany's most prestigious research award TIME 100 most influential people in the world (2021) Ritterin der französischen Ehrenlegion (2022) Deutscher Kulturpolitikpreis (2022) Berliner Wissenschaftspreis (2023) Clark Prize for Excellence in Arts Writing (2024) Prix Européen de l'Essai 2025 (2025) As co-author of the groundbreaking 2018 report on African cultural restitution commissioned by French President Emmanuel Macron, Savoy has significantly influenced international policy. Her work has secured major research funding, including collaborative projects with African scholars. She has led influential research teams examining colonial collections, most notably the seven-member team that produced the 'Atlas der Abwesenheit' documenting Cameroonian cultural heritage in Germany. Her advocacy continues to shape museum practices worldwide, pushing institutions toward greater accountability regarding their colonial-era acquisitions.

• Art History
• Cultural Property Restitution
• Colonial Heritage
• +5 more