Anders Hagberg is a Professor of Musical Performance/Improvisation at the University of Gothenburg's Department of Music, School of Music, Performing Arts and Theatre. His work bridges multiple disciplines, emphasizing improvisation, cross-cultural collaboration, and spatial acoustics. Hagberg has performed globally, collaborating with artists from India, Japan, South Korea, the U.S., West Africa, and Brazil. His research explores modal harmony, musical presence, and acoustics in performance, fostering international projects and educational tools to enhance musicians' creativity. Key collaborations include projects with Scandinavian, Middle Eastern, Indian, and Korean artists, as well as boundary-pushing performances at venues like the Show of Hands Festival (Istanbul) and the National Flute Association Convention (San Antonio). His work integrates dance, visual arts, and interdisciplinary practices, with recent highlights including the 2024 European Low Flutes Festival and solo concerts in Washington DC. Notable publications include works on Mussorgsky adaptations and spatial composition, reflecting his dedication to expanding musical boundaries. Hagberg's performances and workshops emphasize innovative pedagogy and global artistic exchange, positioning him as a leading figure in contemporary musical performance.
Jennifer Tyburczy is an Associate Professor in Feminist Studies at UC Santa Barbara, with affiliations in Theater & Dance and Latin American & Iberian Studies. Her work intersects queer theory, museum studies, and transnational politics. PhD: Performance Studies, Northwestern University (with Gender Studies certificate) MA: English, University of Texas, Austin BA: English, Journalism & Mass Communication (Spanish minor), UNC Chapel Hill Her research focuses on queer archives, museum politics, and the intersections of race, sexuality, and political economy. Recent projects include Sex Museums (2016), analyzing how institutions display sexuality, and a forthcoming book on NAFTA's impact on intimacy economies. Notable awards include the Lambda Literary Award and Crompton-Noll Award. She curated the award-winning Irreverent: A Celebration of Censorship exhibition at the Leslie-Lohman Museum (NYC). Current projects include Sex After NAFTA , examining economic policies' influence on intimate practices through interdisciplinary methods.
Ellan Lincoln-Hyde is a Lecturer in Liberal Arts and Interdisciplinarity at King’s College London’s Department of Interdisciplinary Humanities (Faculty of Arts & Humanities). They hold a doctoral studentship from Bloomsbury College and were a Yenching Academy Scholar (2017–2019). Their research focuses on music nationalism, Indo-Pacific digital cultures, and intersectional studies (gender, disability, queer theory). Research highlights include analyzing Western classical music dissemination in early 20th century China through a queer/feminist lens, and examining colonial frameworks in religious music historiography. They’ve received the Royal Anthropological Institute’s Emslie Horniman Grant and organize events like the 2024 ‘Sound, Music, and Climate Change in Spiritual Communities’ conference. Professional roles: Senior Blog Editor (SOAS History Blog), former Co-Director of Asia’s largest all-paid academic conference (Yenching Global Symposium 2017–2018) Performance background: Producer/stage manager for opera, theatre, and international events; founder of charity concert series ‘From the Con to Kabul’ (2012–2016) benefiting Afghan Youth Orchestra
Dr. Jennifer Sliwka is a Senior Research Fellow and Visiting Senior Lecturer at King's College London, serving as Deputy Director of the Visual Commentary on Scripture (VCS) project. She is affiliated with the Department of Theology & Religious Studies within the Faculty of Arts & Humanities. She holds a PhD from Johns Hopkins University and an MA from the Courtauld Institute of Art. Her research focuses on sacred art and architecture of the Italian Renaissance and Baroque periods, the relocation and repurposing of artworks, and transhistorical connections between historical and contemporary art. She employs interdisciplinary approaches combining art history and anthropology to explore how space, memory, and tradition influence the interpretation of sacred art. Publications: Authored Reframed: The Woman in the Window (2022), Visions of Paradise (2015), and Monochrome: Painting in Black and White (2017, co-authored). Contributed chapters to Material Religion and Art as Politics in Late Medieval and Renaissance Siena . Exhibitions: Curated major National Gallery exhibitions like Monochrome (2017), Devotion by Design (2011), and Visions of Paradise (2015). Teaching includes co-leading the MA Christianity & the Arts with the National Gallery. She oversees the VCS project, a digital platform connecting art with biblical themes. Her work has been supported by the Getty Research Institute, Kress Foundation, and Harvard’s Villa I Tatti. Public Engagement: BBC radio appearances, digital films on John the Baptist and contemporary art collaborations, and lectures at NYU, Bridge Projects, and the National Gallery. Current Projects: Collaborating with Berlin’s Bode-Museum and Gemäldegalerie on interfaith art initiatives.
Ms Fran Rhodes is an Associate Lecturer in the School of Education at Curtin University, affiliated with the Faculty of Humanities. She holds a role in the Office of the Provost and is based at Curtin Perth's Art Room 105. Her work bridges educational support systems and contemporary art curation. Key publications include a 2020 journal article on staff-student support dynamics during isolation and a 2018 curated exhibition exploring Gothic themes in Antipodean art. Education Background: Details not explicitly provided in text. Research Focus: Ms Rhodes' curation of 'Dark Swan' highlights interest in Gothic traditions within Australian cultural expression, while her 2020 article emphasizes institutional strategies for supporting academic staff and students during crises. Her work intersects educational policy, mental health, and art's role in societal narratives. Grants & Advising: No specific grants or advising roles listed in the provided text. Her contributions appear centered on direct academic support and curatorial practice. Labs/Teams: No formal lab or team affiliations mentioned.
Jana Reidla is a Research Fellow in Ethnology at the Institute of Cultural Research, Faculty of Arts and Humanities, University of Tartu, where she has held academic positions since 2020. She completed her PhD in 2021 with a dissertation on curatorial roles in Baltic and Finnish national museums and holds a Master’s degree in Cultural Management. She is also the program director of the MA in Culture Management at the University of Tartu and has previously lectured on Estonian historical ornamentation and jewellery at the Viljandi Culture Academy. Her research focuses on cultural anthropology, ethnology, museum studies, and cultural heritage, particularly exploring curatorial practices, collecting policies, and cultural memory in Baltic and Estonian contexts. She investigates how museums navigate heritage, identity, and institutional roles, especially in post-Soviet and transnational frameworks. Her recent publications reveal a strong thematic focus on museum value systems, auxiliary collections, and the social relevance of curatorial work. She analyzes collecting practices in Estonian museums, the role of curators as mediators, and the representation of the Soviet period, contributing to broader discussions on heritage ethics and institutional pluralism. Voldemar Siimon Memorial Scholarship, University of Tartu (2018) Reidla has supervised no formal students listed in the data but has actively contributed to research projects such as Practices and Challenges of Mnemonic Pluralism in Baltic History Museums (PRG1097), funded by the Estonian Research Council. She also serves as editor-in-chief of Studia Vernacula and is a member of ICOM, the Société Internationale d'Ethnologie et Folklore, and the Society of Friends of the Estonian National Museum. Her creative work includes curating exhibitions such as For Sale. Not For Sale. Jewellery exhibition (2022) at Pärnu Museum and managing permanent exhibitions at the Museum of the Bank of Estonia.
Sarah Kate Wilson is a Senior Lecturer at Camberwell College of Arts , University of the Arts London, leading Year 3 of BA Painting. She holds an MFA in Painting from the Slade School of Fine Art (2010) and a Practice-based PhD from the University of Leeds (2017), focusing on durational painting through gifting, grafting, hosting, and collaborating. Research Interests: Performance art integration into painting, expanded painting practices, animal mimicry, ancestral knowledge systems, and cosmic themes. Curatorial Work: Co-directs the Show-Off collective; curated 'Painting in Time' (2015-2016) with international reach. Key Projects: Collaborative performances at Royal Academy, Palais de Tokyo, and Bauhaus Museum; AHRC-funded PhD research. Publications: Catalogue texts for Fully Awake 5.6 (2019) and contributions to the Journal of Contemporary Painting (2024).
Jonathan Kearney is a Senior Lecturer and Course Leader for the MA Fine Art Digital program at Central Saint Martins, University of the Arts London, where he has pioneered online learning since 2004. As a UAL Teaching Scholar, he explores blended practices integrating physical and digital media, with a focus on digital pedagogy and theological engagement in contemporary art. His international experience spans teaching, curation, and exhibitions across China, Europe, and Brazil. Education: PhD candidate at Liverpool John Moores University. His research investigates how digital environments expand art practice and learning. He has curated exhibitions at institutions like the ICA London, Art Electronica (Austria), and Tremenheere Sculpture Gardens (UK), emphasizing cross-cultural dialogue and experimental technologies. His work includes AI art experiments, augmented reality installations, and noise reduction in digital media. The 15 most recent articles highlight his contributions to digital art, online pedagogy, and interdisciplinary research, spanning topics like AI ethics, AR sculpture, and post-pandemic teaching. He has received the UAL Teaching Award eight times for his innovative approaches to fine art education. Notable collaborations include the Shared Language project with Oxford University and UAL, focusing on transdisciplinary dialogue through images.
Filipa Ramos is an Associate Lecturer at Central Saint Martins, University of the Arts London, teaching in MRes Art: Exhibition Studies and MRes Art: Moving Image. She is a London-based curator and art critic, currently serving as curator of Vdrome, a platform for moving image works. Former Curator of Research Section at dOCUMENTA (13) Ex-Associate Editor of Manifesta Journal Prior Public Programmes curator at the Antonio Ratti Foundation in Como Her research interests span contemporary art, moving image, curatorial practices, and exhibition studies, with a focus on interdisciplinary collaborations and the intersection of art criticism and public programming. Ramos co-authored the book Lost and Found - Crisis of Memory in Contemporary Art (2009) and has contributed to various international publications as a regular writer. Her career emphasizes bridging academic research with practical curatorial projects.
Caleb Kelly is an Associate Professor in the Faculty of Arts, Design and Architecture at the University of New South Wales (UNSW). His research focuses on sound in the fields of media arts, gallery arts, and music, leading to a rethinking of how art is listened to, historically and in contemporary practice. Kelly coordinates the research group Sound, Energies and Environments (SEE), which explores the intersection of sound, energy, and environmental concerns in contemporary art practices. His educational background includes: Bachelor of Arts in Art History & Philosophy from the University of Otago, New Zealand (1993) Master of Arts (Hons) in Art History from the University of Auckland, New Zealand (1996) Doctor of Philosophy in Creative Communications from the University of Canberra, Australia (2007) Kelly's research centers on sound studies , particularly examining the role of sound in contemporary art and gallery contexts. His work explores cracked media (the sound of malfunction), imperfection in experimental instruments , and feedback systems in artistic practice. He investigates how sound functions within visual art spaces, challenging traditional distinctions between visual and auditory experience. His research has led to significant contributions in understanding gallery sound , audio installations , and the materiality of sound in contemporary art. Kelly's approach combines art historical analysis with practical experimentation, often working directly with artists to understand the technical and conceptual dimensions of sound-based art. Kelly's publications reveal a consistent focus on the intersection of sound, media, and contemporary art practices. His work traces the historical development of sound art exhibitions while simultaneously exploring cutting-edge sonic art practices. A notable trend is his sustained interest in imperfection, malfunction, and error as creative forces within media art. His research spans from historical examinations of sound art exhibitions to contemporary investigations of ecological concerns in media practices. Kelly's writing frequently addresses the material dimensions of sound, examining how physical substances and technological systems shape auditory experiences in gallery settings. Among his notable recognitions: Edgard Varèse Guest Professor at the Technische Universität Berlin (2015) Kelly has supervised numerous doctoral and master's students working at the intersection of sound, art, and technology. His current and completed students have explored diverse topics including cello performance with long-throw speakers, improvisational feedback systems, underwater sound experiences, electro-acoustic feedback, neural networks in music, sound surveillance, ecological sound practices, video feedback art, electromagnetic constellations in radio, and organizational structures in experimental music. His supervision emphasizes practice-based research, encouraging students to develop both theoretical frameworks and creative outputs. While specific grant information isn't detailed in the provided text, his research activities suggest involvement in substantial funding projects supporting his publications, exhibitions, and research group activities. Kelly coordinates the research group Sound, Energies and Environments (SEE), which serves as a hub for interdisciplinary research on sound in contemporary art. The group brings together artists, curators, and scholars to explore how sound functions within gallery contexts and beyond. SEE has facilitated numerous exhibitions, publications, and collaborative projects examining the relationship between sound, energy systems, and environmental concerns. The group's work has contributed significantly to the field of sound studies, particularly in understanding how sound operates within institutional art spaces.
Joana Vitkutė is a Lithuanian art historian and researcher at the Institute of Art Research of the Vilnius Academy of Arts since 2021. She serves as a curator at the Vilnius Picture Gallery of the Lithuanian National Museum of Art, organizing thematic exhibitions on historical art. Her academic journey includes a BA in Art Research from the Vilnius Academy of Arts (2019) and an MA in Art History from the University of Groningen (2020). She is currently pursuing a PhD in History and Theory of Arts at the Vilnius Academy of Arts, focusing on child representation in Lithuanian 18th–19th century art. Education: BA (2019), MA (2020), PhD candidate (2021–present) Institutional Affiliation: Institute of Art Research (Vilnius Academy of Arts); Vilnius Picture Gallery (Lithuanian National Museum of Art) Her research interests revolve around Lithuanian and Western secular art from the 16th to 19th centuries, with a focus on portraiture, childhood representation, cultural heritage, and museum studies. Her curatorial projects include major exhibitions like 'Senses and Sensations' (2024) and 'Florentem' (2025), which explore thematic connections in historical art collections. Recent scholarly works span analyses of family portraiture during Romanticism, attribute symbolism in children's portraits, and cross-border artistic influences. She has contributed to exhibition catalogues and peer-reviewed journals, addressing topics such as the reception of Władysław Niewiarowicz's works and Jean-Baptiste Greuze's Lithuanian connections. Research trips include a 2023 visit to the Warburg Institute (London). Media engagements feature interviews on LRT programs and articles in Krantai and 7md.lt , discussing historic art narratives and museum practices.
Ina Knobblock is an Associate Senior Lecturer in Gender Studies at Mid Sweden University, where she is employed in the Department of Humanities and Social Sciences. A Sámi and Tornedalen feminist researcher, she holds a PhD from Lund University (2022) for her dissertation 'Writing-Weaving Sámi Feminisms: Stories and Conversations'. Her research centers on Sámi feminist knowledge production through narrative methodologies. Key interests include: Sámi and indigenous feminism Decolonization and resurgence Intersection of gender and indigenous belonging Indigenous methodologies Creative-academic writing borderlands Relational epistemology Knobblock teaches Gender Studies courses (A, B, C) and specialized courses including 'Indigenous Feminisms' and 'Climate Feminism', emphasizing indigenous perspectives in academic and societal contexts. Her 2021-2024 publications reveal consistent focus on Sámi feminist resistance against environmental exploitation (e.g., mining opposition) and academic racism, utilizing collaborative writing and conversational methodologies to bridge creative and scholarly work. Key themes include decolonial land politics, anti-racist coalition building, and indigenous knowledge sovereignty within Nordic contexts.
Caroline Salfinger is a PhD candidate and University Assistant in the PhD Research Collective at the University of Art and Design Linz . Her work bridges artistic practice (painting, photography) with theoretical exploration of liminal moments, ambivalence, darkness, and melancholy through an artistic-scientific lens. Born 1991 in Grieskirchen Studied Fine Art (Painting & Graphics) and Applied Cultural Studies at University of Art and Design Linz (Diploma with Distinction 2018/2022) Current research: Spaces of Loneliness: Figures of Refusal and Their Relationship to Space (Artistic Research) Notable scientific awards include the Emanuel & Sofie Fohn Scholarship 2022. Her exhibition history spans 2013–2024 with prominent appearances at NEXTCOMIC FESTIVAL and OÖ Kulturquartier. She contributes to cultural discourse through catalogue essays and editorial collaborations. Research trends in her work include: Intersection of spatial theory and affective states Exploration of withdrawal as creative strategy Visual representation of melancholy and resistance Curatorial practice as research method Epistemological boundaries in artistic research Gender-inflected spatial topologies As member of KUNSTSCHAFFENDEN since 2020, she participates in collective artistic practice and knowledge production.
Professor David Cross is Professor of Visual Arts at Deakin University within the Faculty of Arts and Education/School of Communication and Creative Arts. Based at Melbourne Burwood Campus, he maintains an active studio practice alongside his academic responsibilities, with his professional website providing further insight into his artistic work. David Cross's research interests focus on visual arts, particularly public art, performance, installation, video, curation, and theories of subjectivity. His practice extends across multiple media including inflatable structures to negotiate interpersonal exchange, examining themes of risk, pleasure, and participation. He has performed internationally at live art festivals in Poland and Croatia and represented New Zealand at the 2011 Prague Quadrennial. His recent publications demonstrate a strong focus on public art practice, curatorial methods, and contemporary art theory. The articles reveal consistent engagement with site-specific interventions in public spaces, environmental contexts, and community engagement. Cross frequently explores the relationship between art and infrastructure, particularly in water treatment facilities and coastal environments. His work shows a commitment to collaborative practices and international contexts, with projects spanning Australia, New Zealand, Europe, and Asia. Cross co-founded the Public Art Commission (PAC) research initiative at Deakin University in 2017 with Cameron Bishop, which has developed numerous significant projects including Treatment series (2015-2023), Venetian Blind (2019), Six Moments in Kingston (2019), and Front Beach Back Beach (2022). He currently serves as Research Leader of the Public Exchange Bureau at Deakin. Cross has extensive supervision experience with 8 current doctoral candidates and 1 current masters student, plus 15 completed doctoral candidates. His grant history shows consistent funding for public art projects from various councils and organizations including Wyndham City Council, Mornington Peninsula Shire Council, and Creative Victoria. As an active member of the academic community, Cross serves as Treasurer for the Deans of Design and Creative Arts, Australia, and as a Board Member for NETS (National Exhibition Touring Scheme), Victoria. His professional practice bridges academic research, artistic creation, and community engagement through numerous public art commissions and curatorial projects.
Magali Avezou is a Curator, Arts Manager, and Tutor at Central Saint Martins (CSM), part of the University of the Arts London (UAL), where she teaches the Introduction to Contemporary Photography Short Course alongside visual arts and artists' books curriculum. She founded the independent curatorial platform Archipelago Projects to showcase contemporary photographic works and critical visual discourse. Her educational foundation includes a Postgraduate Certificate (PGCert) in Photography from CSM and a Master of Arts from the London College of Photography, preceded by formal studies in arts management and professional experience in cinema and book industries across France and Spain. Avezou's research centers on the "culture of images" and contemporary visual culture through a critically reflective lens. Her interdisciplinary practice deliberately bridges: Photography as a pivotal tool for analyzing modern visual culture Emotional frameworks in contemporary society Cross-media integration of video, textile, and digital platforms Artist book curation as critical commentary Challenging conventional art exhibition spaces Dialogues between photography and broader artistic disciplines Her Manifesta 2018 Palermo exhibition "I Never Promised You a Rose Garden" exemplifies this approach, examining evolving emotional interrelationships through multimedia installations. Avezou champions photography's transformation from marginalized medium to central cultural analytical tool, emphasizing its necessity in conversation with other art forms to decode contemporary visual landscapes. Through Archipelago Projects, she cultivates experimental collaborations that disrupt traditional art presentation models while maintaining rigorous academic engagement with visual theory and practice.
