sean smuda lives and works in Berlin. He oper-
ates community-based galleries in Minneapolis
and Berlin; served as Cultural Liaison to Tours,
Frankreich; and initiated Blown Derivatives, a four-
year collaboration of international artists.
Kürzlich, his work has been exhibited at
Résidence du Cap, Dakar, Senegal; BLACKOUT,
Frankfurt (Oder); and MdW, Chicago. He was the
recipient of a Neustart Kultur-Stipendium from
the German Federal Government in 2022. His
work can be found in major collections, einschließlich
the Walker Art Center.
Megan a. sullivan teaches in the Department
of Art History at the University of Chicago,
where she focuses on practices and theories of
modernism from Latin America. She is the
author of Radical Form: Modernist Abstraction in
South America (2022) and a coeditor of A
Companion to Modern and Contemporary Latin
American and Latina/o Art (2022).
Roundtable
Monica Juneja teaches art history at the
Heidelberg University (Deutschland).
Gao Minglu is professor emeritus at the
University of Pittsburgh.
Chaitanya sambrani teaches at the School of
Art and Design, Australian National University,
Canberra.
nora annesley taylor teaches at the School of
the Art Institute of Chicago.
Ming tiampo teaches at Carleton University.
ContRibutoRs
Marina bedran teaches in the Department of
Modern Languages and Literatures at Johns
Hopkins University and is a faculty affiliate of
the Center for Advanced Media Studies and the
Program in Latin American, Caribbean, Und
Latinx Studies.
vladislav beronja teaches in the Department
of Slavic & Eurasian Studies at the University of
Texas at Austin. He is a coeditor (with Stijn
Vervaet) of Post-Yugoslav Constellations: Archive,
Memory, and Trauma in Contemporary Bosnian,
Croatian, and Serbian Literature and Culture
(2016), and has published widely on literary and
visual culture in the former Yugoslavia.
amelia Jones teaches at the Roski School of Art
& Design at the University of Southern California.
Recent publications include Seeing Differently: A
History and Theory of Identification and the Visual
Arts (2012), Ansonsten: Imagining Queer Feminist
Art Histories (2016, coedited with Erin Silver),
Queer Communion: Ron Athey (2020, coedited
with Andy Campbell), and In Between Subjects: A
Critical Genealogy of Queer Performance (2021).
Kathy Yim King Mak teaches at the Department
of Chinese Culture of the Hong Kong Polytechnic
Universität. Her research focuses on the artistic
representation of Chinese socialist landscape in
the People’s Republic of China in the context of
national and environmental imaginations after
1949. Darüber hinaus, she investigates the works of
postwar modern artists in Hong Kong with regard
to cross-mediality and liminality.
sandra skurvida teaches in the Department of
History of Art at the Fashion Institute of
Technologie, State University of New York. Her
writings have appeared in Art Journal, Art Papers,
Art Practical, Ibraaz, Interventions, Mousse, Dailė,
and The International Journal of Islamic Art and
Architecture. In 2015, she convened the interna-
tional symposium Iran: Art and Discourse at the
Asia Society in New York City, and since 2010,
she has curated numerous screenings worldwide
of video art from Iran.
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