Maria Thereza Alves is an artist whose work has been exhibited globally. Selected exhibitions include: dOCUMENTA (13), Taipei Biennale, São Paulo Biennale, Kunsthalle in Basel, San Francisco Art Institute, Manifesta in Trento, Museo Tamayo in Mexico City, Jewish Museum in Berlin, Guangzhou Triennale, Liverpool Biennale and the Prague Biennale. Other notable exhibitions include: Temistocles 44 in Mexico City, Central Space Gallery, Casa del Lago in Mexico City and La Estacion Gallery in Cuernavaca, Morelos, as well as, Kenkeleba House in New York. Alves has recently had a solo exhibit at MUAC in Mexico D.F., and CAAC in Sevilla, Spain. She is founding member of the Partido Verde (Green Party) in São Paulo, Brazil, representative to South America of the International Indian Treaty Council and delegate to the United Nations Human Rights Commission in Geneva in 1979. Alves was co-organizer of the Eco-Sindical Conference in São Paulo, 1991.
Brenna Bhandar teaches at the School of Law in SOAS. She is author of numerous articles and co-editor of the Routledge Book Series, Law and the Post-Colonial: Ethics, Politics & Economy (with Denise Ferreira da Silva and Mark Harris), and has served on the editorial board of Feminist Legal Studies and the international advisory board of the Law and Society Review.
Francisco Gallardo (SP) is a cultural “thingker” whose work explores forms of environmentally embedded violence as the interface between ecology, technology and society. Within the umbrella of critical practices, or practice as critique, he is currently developing forms of tongue-led inquiry into the material intractability of global trade, the diminishing negantropism of maritime finalisation, immiserated remote labour-power, alluring myths of ecological cosmopolitanism and other forms of slow violence flowing through the Thames Estuary. Francisco is a Doctoral Student in the School of Geography and the Media, Art and Technology Lab both at Queen Mary University.
Jennifer Gabrys is Reader in the Department of Sociology at Goldsmiths, University of London, and Principal Investigator on the ERC-funded project, Citizen Sense. She is author of a study on electronic waste, Digital Rubbish: A Natural History of Electronics (University of Michigan, 2011); and a forthcoming study on environmental sensing, Program Earth: Environmental Sensing Technology and the Making of a Computational Planet (University of Minnesota Press, 2016). Her work can be found at citizensense.net and jennifergabrys.net.
Elaine Gan is art director of Aarhus University Research on the Anthropocene (AURA) in Denmark and is completing her doctoral project, Time Machines: Coordinating Change, Resilience, and Emergence, at the University of California in Santa Cruz. Her practice combines the arts, sciences, and environmental anthropology, to articulate the temporalities of multispecies interactions as a key component of landscape change. Current projects include co-curating an art-science exhibition, DUMP! Multispecies Making and Unmaking, at Kunsthal Aarhus, Denmark; convening an interdisciplinary seminar on feral technologies in the Anthropocene with AURA, Haus der Kulturen der Welt and Max Planck Institute, Berlin; and co-editing an anthology, Arts of Living on a Damaged Planet: Stories from the Anthropocene (forthcoming 2016).
knowbotiq experiments with forms and medialities of knowledge, political representation and epistemic disobedience. The art group (formerly knowbotic research, together with Alexander Tuchacek) has participated in the 48th Venice Biennal (1999), Seoul Biennal (2002), Hongkong Shenzen Biennal (2007), Rotterdam Biennal (2009), Moscow Biennale (2011), has exhibited at Museum Ludwig Cologne (2000), New Museum New York (2002), Witte de With Rotterdam and MOCA Taipeh (2004), Kunsthalle St. Gallen (2005), Wilhelm Lehmbruck Museum Duisburg and Skuc Gallery Ljubljana (2006), NAMOC Beijing (2008), Aarhus Kunstmuseum (2009), and has received major awards including the Swiss Art Award (2012), the Claasen Prize for Media Art and Photography (Cologne) and the international ZKM Media Art Award. knowbotiq has a professorship at the University of the Arts Zurich. http://krcf.org/krcf.org
Alain Pottage teaches Law at the LSE. He holds degrees from the University of Edinburgh and the London School of Economics. Before joining the Law Department of the LSE, he was a researcher at the Law Commission and a lecturer in the School of Law at King’s College London. He has been a visiting professor at the Ecole des Hautes Etudes in Paris, the University of Sydney, and Cornell Law School. He is the co-author, with Brad Sherman, of Figures of Invention A History of Modern Patent Law (Oxford University Press: 2010)
Anthony Trewavas (FRS, FRSC) is a professor at the Institute of Cell and Molecular Biology at the University of Edinburgh, best known for his research in the fields of plant physiology and molecular biology. His lifetime research has concerned what is now recognized as plant behaviour. Trewavas has held numerous invited professorships in universities in North and South America and Europe lasting from one to nine months. He is a Fellow of the Royal Society of London, Royal Society of Edinburgh and Academia Europea, and is Life Member by Acclaim of the American Society of Plant Biology. He is the author of approximately 250 papers and 3 books, the latest of which is Plant Behaviour and Intelligence (Oxford University Press, 2014).
YoHa (English translation “aftermath”) is a partnership between artists Graham Harwood and Matsuko Yokokoji, formed in 1994. YoHa’s graphic vision and technical tinkering, has powered several celebrated collaborations, establishing an international reputation for pioneering critical arts projects. In 2015, YoHa collaborated on Graveyard of Lost Species, with Critical Art Ensemble and Arts Catalyst. YoHa recovered a wrecked cockle boat (a historic 12-ton Thames Bawley) from the Thames Estuary mudflats, and working with local people from Leigh-on-Sea and Southend, are in the process of transforming it into a public monument to record the disappearance of the marine species, wildlife, industries, dialects, traditions and landmarks that were once found along the Thames Estuary. This work is currently on show in the Arts Catalyst show, “Notes from the Field, Commoning Practices in Art and Science”. Graham Harwood convenes the MA Digital Culture at the Centre for Cultural Studies, Goldsmiths, University of London.