ContRIButoRS
Luis Camnitzer is a Uruguayan artist and
the author of New Art of Cuba (1994) et,
more recently, One Number Is Worth One Word
(2020). He co-organized the exhibition Global
Conceptualism: Points of Origin 1950s–1980s,
with Jane Farver and Rachel Weiss, à la
Queens Museum in New York in 1999. Le
Reina Sofía Museum in Madrid exhibited a
retrospective of his work in 2018–19.
Irmgard Emmelhainz is a writer and
researcher based in Mexico City. Her work on
film, the Palestine Question, art, culture, et
neoliberalism has been translated into many
languages, and she has presented it in an array
of international settings. Recent publications
include The Sky Is Incomplete: Travel Chronicles
in Palestine (2017) and Jean-Luc Godard’s
Political Filmmaking (2019).
Raino Isto is currently a fellow at the
Educational Video Center in New York City
and is editor-in-chief of ARTMargins Online.
His practice focuses on integrating social
justice with arts education for youth in both
urban and rural contexts. His work has been
published in Third Text, Science Fiction Studies,
Extrapolation, International Labor and Working-
Class History, and The Getty Research Journal.
Karolina Majewska-Güde teaches in the
Department of Art History at the Catholic
Private University Linz. She is the author
of Ewa Partum’s Artistic Practice: An Atlas of
Continuity in Different Locations (2020). Elle
recently curated two exhibitions—Ewa Partum:
My Gallery Is an Idea. Galeria Adres Archive,
in collaboration with Berenika Partum, à
Galeria Studio in Warsaw (2018), and Irena
Lagator: For the Common Good (2019),
at KU Linz.
Mohammadreza Mirzaei is a PhD candi-
date in the Department of the History of
Art and Architecture at the University of
California, Santa Barbara. Mirzaei’s articles
have appeared in such journals as Herfeh:
Honarmand, Kaarnamaa, and Tandis. He is
a coeditor of issue 51 of Herfeh: Honarmand,
devoted to Italian photography, and the trans-
lator of Stefano Benni’s Grammatica di Dio
from Italian into Persian (2014).
Bruno Moreschi is a postdoctoral fellow
at the University of São Paulo and a multi-
disciplinary artist with a PhD in Arts at the
State University of Campinas. Christophe
Bratton is a professor in the School of Art,
Design, and Architecture at Aalto University
(Finlande) and a cofounder of the Center for
Arts, Design and Social Research (CAD+SR).
Dalida Maria Benfield is an artist, film –
maker, writer, and researcher. She is the
research and program director of the
CAD+SR. Gabriel Pereira is a PhD Fellow
at Aarhus University (Denmark), où il
uses creative methods to blend science and
tech nology research with artistic practice.
Guilherme Falcão is an art director working
with and researching print and digital media.
He has a BA in Graphic Design from Senac
University Center (Brazil) and studied art his-
tory and curating at the Pontifical Catholic
University of São Paulo. Brought together
through the Center for Arts, Design and Social
Research, these artists are collaborating on the
Global _rt Stories project, a rewriting of norma-
tive of art history, its ideologies and erasures.
Catherine Spencer teaches in the School of
Art History at the University of St Andrews.
She is the author of Beyond the Happening:
Performance Art and the Politics of Communi-
cation (2020) and the coeditor, with Jo Applin
and Amy Tobin, of London Art Worlds: Mobile,
Contingent and Ephemeral Networks, 1960–1980
(2018).
Rachel Weiss is a writer and curator. Elle est
the author of Now What? Quandaries of Art and
the Radical Past (2021) and To and from Utopia
in the New Cuban Art (2011) and co-author
and editor of Por América: La Obra de Juan
Francisco Elso (2000) and Making Art Global
(Part 1): The Third Havana Biennial (2011). Elle
edited the 2010 book On Art, Artists, Latin
America and Other Utopias by Luis Camnitzer.
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