CoNtrIButorS

Mario Asef’s videos, photographs, sound
installations, and public-space interventions
address architectonic as well as sociopolitical
preguntas. His work has been exhibited most
recently at Quartier 21 (Viena), Kühlhaus
Berlina, Kasa Galerie (Istanbul), Abandoned
Gallery (Malmö, Suecia), SSamzie Space
(Seoul), and Nouvel Organon (París).

Izabel Galliera teaches in the Department
of Art and Art History at McDaniel College
in Maryland, where she recently curated
the exhibit Alternative Cartographies:
Artists Claiming Public Space (November–
December 2015) at the Rice Gallery. Su
article in this issue is based on a chapter
of her forthcoming book Socially Engaged
Art after 1989: Art and Civil Society in
Central and Eastern Europe (I.B. Tauris).

Sofia Gotti holds an AHRC Collaborative
PhD Studentship with Tate Research and
the Chelsea College of Art and Design in
Londres. She is the 2015–16 Hilla Rebay
Curatorial Fellow at the Guggenheim
Museums in New York, Bilbao, and Venice.
Previous translations include an interview
conducted with artist Teresinha Soares.

Adele Nelson teaches in the Department of
Art History at Temple University. She is the
author of Jac Leirner in Conversation with/en

conversación con Adele Nelson (2011). Su
writings have appeared in Art Journal, el
anthology Mário Pedrosa: Primary Documents
(2015), and museum catalogs. Her current
book project examines how abstract art devel-
oped in mid-20th-century Brazil in close rela-
tion to newly formed modern art institutions.

Ileana L. Selejan is the Linda Wyatt Gruber
Curatorial Fellow in Photography at the Davis
Museum at Wellesley College, where she
recently curated the exhibition Measuring
the World: Photography, Geography, y
Descripción. Her work focuses on war and
documentary practices at the intersection of
aesthetics, ethics, and protest in photography
Y arte. She previously taught at New York
University’s Parsons New School for Design
and West University in Timis,oara, Romania.

Bojana Videkanic´ teaches in the Art
History and Visual Culture program at the
University of Waterloo in Ontario, Canada.
Her research explores connections between
arte, various modes of visual representation,
and politics. Specializing in Yugoslav visual
art and state identity, she is currently writing
a book examining Yugoslav non-aligned
socialist modernism. Her analysis of Tito’s
visual representations appears in Remem­
bering Utopias: The Culture of Everyday Life
in Socialist Yugoslavia.

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