COnTRIBUTORS
Greg Burris teaches at the American
University of Beirut and is the author of The
Palestinian Idea: Film, Media, and the Radical
Imagination (2019). His other writings on film,
culture, and politics have appeared in such
publications as Bright Lights Film Journal,
CineAction, Cinema Journal, Film International,
The Guardian, Jadaliyya, Journal of Islamic and
Muslim Studies, Quarterly Review of Film and
Video, and the anthologies Futures of Black
Radicalism (2017) and Global Raciality: Empire,
PostColoniality, and DeColoniality (2018).
Dora García is an artist and teacher based
in Oslo. Her films include The Deviant
Majority (2010), The Joycean Society (2013),
and Segunda Vez (2018). Her most recent
publications are Love with Obstacles (2020)
and If I Could Wish for Something (2021), both
of which are part of the research project Amor
Rojo (2018–22), on the legacy of the Marxist
feminist Alexandra Kollontai.
Branislav Jakovljevi ´c teaches in the
Department of the Humanities at Stanford
Università, where he teaches in the depart-
ment of Theater and Performance Studies. Lui
is the author of Alienation Effects: Performance
and Self-Management in Yugoslavia 1945–1991
(2016), which received the Joe A. Callaway
Prize for the Best Book on Drama or Theater
for 2016–17. Jakovljevi´c co-translated and
edited Radomir Konstantinovi´c’s book The
Philosophy of Parochialism (2021).
Pujan Karambeigi is a PhD candidate in art
history at Columbia University. His research
has been supported by the DAAD as well as by
the German National Merit Foundation, E
he was the 2018/2019 Miriam & Ira D.
Wallach Curatorial Fellow. He is an editorial
contributor at Jacobin Magazine and has pub-
lished art criticism in Art in America, Artforum,
Texte zur Kunst, Mousse Magazine, and Frieze,
among others.
Tom Holert is an independent scholar of con-
temporary visual cultures and a curator. Lui
has authored and co-authored various books
and organized exhibitions—such as Neolithic
Childhood. Art in a False Present, C. 1930
(with Anselm Franke), and Education Shock.
Apprendimento, Politics and Architecture in the
1960anni '70 e '70, both at Haus der Kulturen
der Welt, Berlin. In 2015, he co-founded the
Harun Farocki Institut in Berlin. Recent book
publications include Knowledge Beside Itself.
Contemporary Art’s Epistemic Politics (2020),
Politics of Learning, Politics of Space. Architecture
and the Education Shock of the 1960s and 1970s
(2021) and ca. 1972. Gewalt– Umwelt—
Identität—Methode (2022).
Annette Krauss is an artist, educator, E
scrittore. Krauss has (co-)initiated various long-
term collaborative practices, including Hidden
Curriculum, Sites for Unlearning, Read-in,
ASK!, Read the Masks, Tradition Is Not Given,
and School of Temporalities. Krauss lives and
works in Utrecht and Vienna. Ferdiansyah
Thajib is a member of KUNCI Study Forum
& Collective, based in Yogyakarta, Indonesia.
Thajib recently finished his PhD at the
Institute for Social and Cultural Anthropology,
Freie Universität Berlin. Krauss and Thajib
have co-organized several workshops on
inhabiting multiple institutional lives, E
they co-ran a course on sonic archival practice
at HKU.
Sándor Hornyik is an art historian at the
Institute for Art History of the Research Centre
for the Humanities in Budapest. His research
concerns the history and theory of avant-garde
and neo-avant-garde art as well as theoretical
issues of contemporary art and visual culture
studies. He published a book on the relation-
ship of avant-garde art and modern natural sci-
enze, and co-edited Beyond Doublespeak: Art in
Hungary 1956–1980 (2018). His latest book
deals with the interpretation of realism and sur-
realism in Hungary between 1945 E 1990.
Mary A. nicholas teaches in the Department
of Modern Languages and Literatures at
Lehigh University. Her work explores the art
and literature of the Soviet period, with partic-
ular emphasis on Moscow Conceptualism. She
is the author of Writers at Work: Russian
Production Novels and the Construction of Soviet
Culture (2010).
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Tim Ridlen teaches in the Department of
Film, Animation, and New Media at the
University of Tampa. He has taught courses in
the history, theory, and production of media
art at the City College of New York, Al Quds
Bard Honors College in East Jerusalem, E
the University of California San Diego. His
research looks at intermedia art from the post-
war period to the present, especially where it
involves artistic research and pedagogy.
Judith Rodenbeck teaches in the
Department of Media and Cultural Studies at
the University of California Riverside. She has
written extensively on intermedia and perfor-
mance for scholarly exhibitions in the United
States and in Europe, most recently on Francis
Alÿs, Carolee Schneemann, and the subversive
social documentary of the San Diego school of
photography. Past Editor-in-Chief of Art
Journal, her critical work has also appeared in
journals such as Grey Room and October. She is
author of Radical Prototypes: Allan Kaprow and
the Invention of Happenings (2011).
Adair Rounthwaite teaches contemporary
art at the University of Washington in Seattle.
She is the author of Asking the Audience:
Participatory Art in 1980s New York (2017) E
has contributed to journals such as TDR, Arte
Journal, and Third Text. She is currently at
work on a book on art and public space in
1970s and 1980s Zagreb.
Sven Spieker teaches in the Department of
Germanic and Slavic Studies and the
Comparative Literature Program at the
University of California, Santa Barbara. Lui
specializes in modern and contemporary art,
aesthetic and critical theory, and transnational
art, with an emphasis on Eastern Europe.
Spieker is a co-founder of the Working Group
on Cultures of World Socialism, and a found-
ing editor of ARTMargins. His latest book pub-
lication is an edited volume devoted to the
relationship between art and destruction
(Destruction, 2017) and Art as Demonstration. UN
Revolutionary Recasting of Knowledge (2024).
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