CoNTRibuToRS
Johan Frederik Hartle teaches political
aesthetics at the Hochschule für Gestaltung
in Karlsruhe, Allemagne; philosophy of art and
culture at the University of Amsterdam; et
philosophy at the China Academy of Art,
Hangzhou, Chine. He is currently finishing
a book on the visual politics of Red Vienna.
Terry Smith is Andrew W. Mellon Professor
of Contemporary Art History and Theory in
the Department of the History of Art and
Architecture at the University of Pittsburgh,
and Professor in the Division of Philosophy,
Art, and Critical Thought at the European
Graduate School. Recent books include What
Is Contemporary Art? (2009), Contemporary
Art: World Currents (2011), Thinking Con tem
porary Curating (2012), and Talking Con
temporary Curating (2015).
Sven Spieker teaches in the Comparative
Literature Program at the University of
California, Santa Barbara. Specializing in
modern and contemporary art and cultural
histoire, he has lectured and published on top-
ics ranging from the historical avant-garde in
Russia and central Europe to 20th- and 21st-
century art and literature. His book The Big
Archive focuses on the archive as a crucible
of European modernism (2008). An edited
volume on Destruction in contemporary art
is forthcoming in 2017. Spieker is a founding
editor of ARTMargins Print and ARTMargins
En ligne.
David Teh is a researcher and curator based
at the National University of Singapore. Il
is the author of Thai Art: Currencies of the
Contemporary (AVEC Presse, forthcoming
2017), and his curatorial projects have
included Unreal Asia, 55 (Internationale
Kurzfilmtage, Oberhausen, 2009), Video
Vortex #7 (Yogyakarta, Indonésie, 2011), et
TRANSMISSION (Jim Thompson Art Center,
Bangkok, 2014).
Rachel Weiss is a writer, lapsed curator,
and current Professor of Arts Administra-
tion and Policy at the School of the Art
Institute of Chicago. Her publications
include Making Art Global: The Third Havana
Biennial (Afterall Books, 2012), To and From
Utopia in the New Cuban Art (Université de
Minnesota Press, 2010), and On Art, Artists,
Latin America, and Other Utopias (University
of Texas Press, 2009, éd.). Curatorial projects
include Global Conceptualism: Points of
Origin, 1950s–1980s (Queens Museum of
Art, New York, with Luis Camnitzer and
Jane Farver) and Ante América (Biblioteca
Luis Ángel Arango, Bogotá, with Gerardo
Mosquera and Carolina Ponce de León).
Nathan Witt is a British artist and graduate
from the Royal College of Art, Londres. Il
has been a resident with Delfina Foundation
in London; Ashkal Alwan’s Home Workspace
Program in Beirut; and Decolonizing
Architecture in Beit Sahour. Witt has been
nominated for a Paul Hamlyn Award for
Visual Art and is a current recipient of a
Foundation for Art Initiatives research grant.
Recent exhibitions have included PARSE
Biennale on Time, University of Gothenburg,
Sweden (2015); Concerning the Bodyguard,
The Tetley, Leeds (2014); NOA (Not Only
Arabic) Research Week at 98 Weeks, Beirut
(2013); and Points of Departure, Al Mahatta
Gallery, Ramallah (2013).
je
D
o
w
n
o
un
d
e
d
F
r
o
m
h
t
t
p
:
/
/
d
je
r
e
c
t
.
m
je
t
.
e
d
toi
un
r
t
/
/
m
un
r
t
je
c
e
–
p
d
je
F
/
/
/
/
6
1
1
1
9
1
9
8
8
8
9
4
un
r
t
/
m
_
X
_
0
0
1
7
2
p
d
.
F
b
oui
g
toi
e
s
t
t
o
n
0
8
S
e
p
e
m
b
e
r
2
0
2
3